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JEAN BAPTISTE GR 


NUMBER 259] 


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SALE NUMBER. 1463°° 


ON PUBLIC EXHIBITION FROM SATURDAY, JANUARY TWENTY-FOURTH 


DRAWINGS BY AMERICAN 
BRITISH, DUTCH, FLEMISH 
FRENCH, GERMAN AND 
SPANISH MASTERS 


_ ‘THE COLLECTION OF 
V. WINTHROP NEWMAN 


[PART ONE] 


TO BE SOLD 
MONDAY AND TUESDAY EVENINGS 
FEBRUARY SECOND AND THIRD 
AT EIGHT FIFTEEN O’CLOCK 


THE ANDERSON GALLERIES 
[MITCHELL KENNERLEY, Presipent] 
PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 


1920 


CONDITIONS OF SALE 
All bids to be PER LOT as numbered in the Catalogue. 


The highest bidder to be the buyer. In all cases of disputed bids the 
lot shall be resold, but the Auctioneer will use his judgment as to the ~ 
good faith of all claims and his decision shall be final. | 


Buyers to give their names and addresses and to make such cash pay- 
ments on account as may be reqvired, in default of which the lots pur- 
chased to be immediately resold. | 


Purchases to be taken away at the buyer’s expense and risk within r : 


twenty-four hours from the conclusion of the sale, and the remainder of © | 
the purchase money to be paid on or before delivery, in default of which | 
The Anderson Galleries, Incorporated, will not be responsible if the lot 7 


or lots be lost, stolen, damaged or destroyed, but they will be left at the 
sole risk of the purchaser, and subject to storage charges. g 


To prevent inaccuracy in delivery, and inconvenience in the settlement 1 
of purchases, no lot will be delivered during the sale. | 


All lots will be exposed for public exhibition in The Anderson Galleries © 
before date of sale, for examination by intending purchasers, and The — 
Anderson Galleries, Incorporated, will not be responsible for the correct- ~ 
ness of the description, authenticity, genuineness, or for any defect or fault — 
in or concerning any lot, and makes no warranty whatever, but will sell ~ 
each lot exactly as it is, WITHOUT RECOURSE. 


Bips. We make no charge for executing orders for our customers and | 
use all bids competitively, buying at the lowest price permitted by ea 
bids. 


The Anderson Galleries, Incorporated, will afford every facility for the ~ 
employment of carriers and packers by the purchasers, but will not be ~ 


responsible for any damage arising from the acts of such carriers and % 


packers. 
THE ANDERSON GALLERIES 
INCORPORATED 
PARK AVENUE AND FIFTY-NINTH STREET 
NEW YORK 
TELEPHONE PLAZA 9356 CATALOGUES ON REQUEST © 


SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN 


| ' EXTRACT FROM 


“ETUDE SUR GEORGES MICHEL” 
PAR 


ALFRED SENSIER 


[RENDERED INTO ENGLISH BY V. WINTHROP NEWMAN] 


N acquiring a proper knowledge of the productions of an artist, it is an 
essential that his minor work should also be carefully studied, seeing 
| that when originality and genius are manifested an endeavor to fathom 
| the mysterious evolution of conception and creative force becomes even more 
| interesting than the analysis of the resulting display offered to the public gaze. 
| A painter almost invariably betrays dual personality, presenting to the 
| world at large a thoughtfully prepared and carefully guarded attitude, fear- 
 lessly facing the critics; the while concealing his natural instincts, discreetly 
| veiling with precaution his veritable passions, for, actor-like, he must present 
| himself before his audience playing the part that lends itself best to his inter- 
| pretation and seems to appeal most to the generally accepted taste and judgment. 
The wlluminative disclosure of inspirational “‘afflatus’’ wherein the artist’s 
| soul flashes forth untrammeled and free occurs in the revelation of his nebulous 
creations displayed in the subtle sketches, the swiftly drawn notes, the pulsating 
_ studies from nature, hastily dashed off in the frenzied exaltation of his vivid 
| amagination. It is in these indications, revealing a hitherto unconceived and 
unknown being divulging his secret thoughts, that he raises us almost to the 
_ relation of a confessor, permitting us to behold his innermost soul, tts pro- 
| foundest depths. 
Worshipped piously in his sanctified Madonnas, freely adored in his 
_ pagan pictures, Raphael, “The Divine,” exhibited quite another unguessed 
| current in’his vibrant and striking studies of the living figure; the rapidly 
| drafted compositions which were never intended for submission to unappre- 
| ciative laymen. Forcefully brutal, even to excess, his conceptions of the human 
_ form are as those of a creator of New Worlds; he ts titanic, and seems imbued 
with a frenzy of wild movement, an animal vigor almost archaic or barbarous. 
_ Possessing a humanity equal to that of Michael Angelo, his daring conceptions 
are as actual monuments demonstrating the freedom of his pristine thoughts. 
from all alliance or compromise with the far too delicate ideas of the world 
mn general, decisively showing how, in varying degrees of utterance, every man 
of genius bears within him ha glittering spark which ts the true sign of 
creativeness. 

Nothing exists more - expressive or more audacious in their spontaneity 
than the dashing masterly scribblings, the magnificently simple renditions, 
the mere indications, of Guilio Romano, of Corregio, of Poussin, of Claude 
Lorraine, Rembrandt, Rubens, of all those masters who confide only to ther 
_tnmost selves the vague visions that their dreams mirror to them. 


Thus it seems that therein lies the actual proof of their strength, for by — 
these means can be realized, in some measure, the doubts, regrets and indect- 
sions that beset them, as well as the fortuitous inspirational joys granted to — 
them by their fertile ¢maginations. , 


CONTENTS 
AMERICAN SCHOOL 1- 22 
BRITISH SCHOOL 23-107 
DUTCH SCHOOL 108-170 
FLEMISH SCHOOL e 171-196 
FRENCH SCHOOL 197-827 
GREEK SCHOOL 328 
RUSSIAN SCHOOL 329-330 
SPANISH SCHOOL 331-334 
TEUTONIC SCHOOL 335-855 
NOTE 


The date of dispersal of the Drawings by Italian Masters, belonging to 
this collection, will be announced later. 

Thanks are due to Mr. William Clifford, Librarian of the Metropolitan 
Museum, for his unfailing courtesy and aid; also to Mr. Maurice Sloog, for 
valuable expert assistance in the compilation of this catalogue; to each 
of these gentlemen appreciative acknowledgment is gratefully tendered. 

The drawings in this collection, with but a couple of exceptions, are dis- 
connected from the mounts, being merely hinged thereto. 


<a 


~ DRAWINGS BY AMERICAN, BRITISH, 
DUTCH, FLEMISH, FRENCH, 


GERMAN AND SPANISH MASTERS 


FROM THE COLLECTION OF 
J. WINTHROP NEWMAN 


AMERICAN SCHOOL 
_ NUMBERS 1-22 


_ John W. Casilear 
New York 1811-1893 


1 VIGNETTE FOR BANK NOTE 


A group of figures representing the arts and industries offering their, 

aid to commerce. To the left tilled fields; on the right, a ship in full 
| 4 ~ gail; in the background, a rocky eminence surmounted by a classic 
temple. H. 23%; W. 334 


Wash. India ink, on Bristol board. 


William Merritt Chase, N.A. 
Franklin Township 1849. New York 1916 


| 2 SEATED FIGURE OF A GIRL HOLDING A FAN 


A young girl seated in an arm chair, her head resting on her right hand, 
— holding in the other a half-closed fan. Boldly executed, the reflected 
JJ- lights in the face being especially well treated. H. 1854; W. 1035 


Black chalk and Wash. India ink, on greyish buff paper. Signed, Chase, 
on right-hand side. 


Edward Clay 
Philadelphia 1792-1857 


3 THREE VIGNETTES FOR BANK NOTES, on one mount. 


(a) Sea-scape, showing an early side-paddle steamboat passing a three- 
) masted ship, in full sail; three other sailing vessels in the distance. 


H. 344, W. 454 
Wash. India ink, on Bristol board. 
5 


(b) A North American Indian paddling a bark canoe, backgrounded by 
a rocky landscape with trees. H. 


Wash, india ink, on Bristol board. 
_ (ce) View of a City on a river bank, the church spires and principal 


2335; W. 344 


buildings clearly depicted; on the left a bridge spanning the water, 
a paddle steamer passing upstream in the centre; in the foreground 


an ox team drawing a hay wagon. 


Wash, india ink, on Bristol board. 


~ On back of mowntis inscribed “Presented tome by Chas. Tappan, Esq.,” 
in the handwriting of the collector, F. A. Lane. 


Richard W. Dodson 
Cambridge, Md. 1912. Cape May, N. J. 1867 


THREE BANK-NOTE VIGNETTES, on one mount. 


W. 454 


(a) Children playing, composition consisting of three boys, one feeding 
chickens, another splitting a log and the third seated by a pool on 


which floats a toy boat; behind them a landscape. 


(b) A milkmaid, stool under arm, balancing a pail on her head, in the ~ 
distance a man driving cows. 


(c) Emblematical figure crowned with flowers representing Plenty; 
holding aloft in the left hand ears of wheat and in her right hand a 
sickle. Harvesters are seen reaping to the right of the figure, 


backgrounded by a woody landscape. 


Dodson is more generally known by his engravings, some of his best 
work having been done for the “National Portrait Gallery.” 


Wash. Sepia 


H. 334; W. 434 


All three drawings are signed Dodson on lower right of sketch and on the 
reverse of mount ts inscribed “Presented to me by Chas. Tappan, Esq., 


1845,” in the handwriting of the collector, F. A. Lane. 


Asher Brown Durand, N.A. 
Jefferson, N. Y. 1796. South Orange, N. J. 1886 


VIEW OF THE CASTLE OF CHILLON 


A delicately pencilled drawing of the Castle of Chillon, on the Lake of 
Geneva, Switzerland, in whose underground dungeons Bonnivard, the 
Swiss patriot, lingered from 1530 to 1536, subsequently immortalized by 
the poet Byron in his “Prisoner of Chillon.’’ Durand, who was described 
by Prof. R. W. Weir as being “one of the fathers of American 
Landscape,’”’ was a member of that group of artists known as the 
H. 835; W. 935 


“Hudson River School.” 


Lead pencil, heightened with white on greyish buff paper. 
Durand in left-hand corner. On the reverse of the original mount 1s 
enscribed in the handwriting of F. A. Lane, “Taken on the Spot, Presented 


to me by Mr. A. B. Durand, N. A.” 


6 


Signed A. B. 


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Horatio Greenough 
Boston, Mass. 1805. Somerville, Mass. 1852 


6 DRAWING OF PORTRAIT HEAD, for a bust in the classic style. 


On reverse, pencil study of a face in profile. This artist was the first 
American sculptor. From his designs made while still at Harvard was 

Jerected the Bunker Hill Monument at Boston. His best-known work 
is the Colossal Statue of Geo. Washington standing in front of the 
National Capitol, unveiled in 1843; on the base of which he modestly 
inscribed “‘Horatio Greenough, Faciebat” (tried to do it), in lieu of the 
customary “‘Fecit’’ (has done it). 


Pen and ink. Sepia. H. 1054; W. 83 


THE INFANT HERCULES STRANGLING THE SERPENTS 


On reverse, a head in profile and three studies of arms. 
“Before he had completed his eighth month, the jealousy of Juno, 
intent upon his destruction, sent two snakes to ‘devour him. The child, 
not terrified at the sight of the serpents, boldly seized them in both 


his hands and squeezed them to death . . .” Vid. Iphiclus. 
Pen and ink. Sepia. H. 9%; W. 7% 


Edgar S. Hamilton 
San Antonio, Texas 1869. New York 1903 


GROUP OF NINE STUDIES, on one mount. 


This poetic and promising young American artist, sacrificing much in 
his devotion to Art, died, shortly after his return from Paris, at the 
is ~ moment when he was achieving recognition. 

H. 1838; W. 1033 


Lead pencil (7). Pencil and water color (2). 


William Hart 
Paisley, Scotland 1823. Mount Vernon, N. Y. 1894 


VIEW OF NEW YORK HARBOR FROM STATEN ISLAND 


Sea-scape with rocky shore in foreground, in the middle distance 
several vessels, two seated figures on the rocks at left. A bold and 
spirited sketch. H. 354; W. 635 


Wash, india ink. Signed, W. Hart, in lower left-hand corner. From 
Lane Collection. 


Eugene Higgins 
Kansas City 1874. Contemporary Artist 


DRAWING OF A HEAD. Russian Type. Three-quarter. 


A characteristically bold and forceful study showing a remarkable 

breadth and vigor of treatment, combined with strong individuality. 

“a H. 1033; W. 73% 
_ Black chalk. Signed, Eugene Higgins, in lower right-hand corner. 


7 


Henry Inman, N.A. 
Utica, N. Y. 1801. New York 1846 


11 TWO VIGNETTES FOR BANK NOTES, on one mount 
(a) Emblematic composition representing Dispatch, Fidelity and — 
Security; shown by a cherub holding in his right hand the winged ~ 
Caduceus of Mercury. In the centre of the group a faithful dog — 

guards a key; on the right is a securely-fastened coffer. | @ 

H. 2; W. 334 © 
Wash. India ink on Bristol board. Signed, Inman, 1830, in |} 
lower right-hand corner. ae 


p ae (b) A picturesque drawing symbolizing the Linen industry. A |} 
maiden seated on a bale of flax, her spinning wheel beside her, "| 
twirling a thread from a distaff held in her right hand, back- |} 
grounded on the right by a Mill actuated by a water wheel. To — 
the left the tall buildings and spires of a city in whose harbor — 
floats shipping, in the foreground boxes and bales of cloth. = 7 
When the National Academy of Design was founded in New York, ~ 
Henry Inman became the first vice-president, being prominent 
at that time as a Portrait and Genre painter, one of his most ~ 
notable productions being the full-length portrait of Wm. Penn, 
now hanging in Independence Hall, Philadelphia. H. 2; W. 334 
Wash. Sepia, on Bristol board. Signed, Inman, on lower right- 
hand corner. : 


Joseph Pennell! 
Philadelphia 1860. Contemporary Artist — 


12 “THE PALACES OF PESTH” 


A spirited sketch showing the esplanaded river front at Pesth, with its 
ag noble buildings lining the water. In the foreground are seen inter- 
os esting examples of the quaint craft that ply to and fro on the blue 
Danube. H. 10; W. 123% 
Pen and ink. Signed, J. Pennell, zn lower left-hand corner. This — 
drawing has been reproduced in the Century Magazine. 


Archibald Robertson 
Moneymusk, Scotland, 1765. New York 1835 


13 A VIEW OF NEWARK, N. J., from the Morristown Road 


A broad vista reaching over the meadows, with Newark stretching 
placidly beside the Passaic River and the Palisades looming hazily in 
the distance. In the foreground, on the broken ridges are boulders, 
to the right a tree in autumn foliage; the entire composition creating 
a harmony in low tones, delicately yet freely handled. ! 

Robertson came to America in 1791 to present to General Washington, 
on behalf of the Earl of Buchan, a box made from the wood of an oak 


8 


NUMBER FIFTEEN 


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tree beneath which Sir William Wallace took shelter at the Battle of 
Falkirk. At the request of the Earl, General Washington sat for a 
miniature by Robertson, who subsequently painted a large picture 
of the General. The artist later settled in New York, practicing 
his profession, and in 1802 assisted in a project for an Art Academy. 
Again in 1816 he helped to found the “‘American Academy,” of which 
he was elected a director. He was also the author of a book on 
Drawing. H. 634; W. 1054 


_ Water color. From the Lane Collection. 


14 STORM KING, VIEW ON THE HUDSON RIVER 


A most effective and interesting picture of the massive bluffs on the 
Hudson. At the foot of the cloud-capped towering heights lies the 
_ placid river with white-winged craft scattered on its bosom; a gloomy 
_ _and lowering sky threatens, save where a glimpse of fading sunlight 
30 ~ softly penetrates the impending storm. H. 63%; W. 9144 


Waiter color. From the Lane Collection. 


John Singer Sargent 
Florence 1856. Contemporary Artist 


| 15 ~HALF-LENGTH ACADEMIC STUDY OF A NUDE MAN—head 
| three-quarters facing right. 


Drawing of a bearded man with slightly disheveled hair, the face 
ine _ expressive and freely treated with simple and direct definition. 

This and the two subsequent items were drawn by Sargent while 
studying | in Paris under the tutelage of Carolin Duran. 


H. 8; W. 83% 
herrconl. Signed, J. S. Sargent, left-hand side. 
[SEE ILLUSTRATION] 


16 HALF-LENGTH ACADEMIC STUDY OF A NUDE MAN—head 
facing three-quarters left. 


A masterly example of treatment, notably in the faithful rendition of 
Ly) ~ the skin texture, almost palpable in its verity. Hos W 


Charcoal. Signed, John S. Sargent, in upper right-hand corner. 


17 HALF-LENGTH ACADEMIC STUDY OF A NUDE MAN—head 
in profile facing right 


The handling of the hair and beard in this study is remarkable for its 
‘0 - quality of elimination, being expressed in the simplest and most 
subtly direct manner. ‘An aspect of senility is notable in all the con- 
tours. H. 10; W. 834 


Charcoal. Signed, Jno. S. Sargent, in upper left-hand corner. 
9 


18 


19 


20 


Thomas Sully 
Horncastle, Lincolnshire 1783. Philadelphia 1872 


ALLEGORICAL FIGURE OF AMERICA 


Seated female figure clothed in a pelt, a circlet and feathers on her | | 
head, holding in her left hand an ear of corn, her right hand resting on © 


an escutcheon displaying the Stars and Stripes, with an eagle guardant 


on a branch at the left. To the right, two vessels sailing past a bluff © 


headland. 


Sully came to the U. S. at the age of 9, revisited Europe later, studying . 
under West and Lawrence, and while abroad painted among others a 


portrait of Queen Victoria. On his return to America he settled in 


Philadelphia. He acquired considerable reputation as a portrait | 
painter; some of his notable paintings comprise ‘“Washington Crossing ~ 
the Delaware,”’ now in Boston, as well as Portraits of Lafayette and ~ 


Jefferson. Many illustrations were produced by him, in most of which | 


truth seems to be sacrificed to mere prettiness. It is interesting to 4} 
note in this drawing the following of Rowlandson’s manner of outlining % 
in a reddish tone, though the same admixture of rs “ and ver- | 


milion is not used. 8:5; W. 61% 


Pen and ink (carmine outline). Wash, india ink. Be at base, EF. S., 


mm monogram, dated 18380. From the Lane Collection. 


Robert Walter Weir, N.A. 
New Rochelle, N. Y. 1803. New York 1889 


FULL-LENGTH FIGURE OF A WOMAN in 15th Century Costume. © 
This artist, after studying in Florence under Benvenuti, was appointed © 


on his return in 1882 Professor of Drawing at the West Point Military 


Academy, which post he held for 42 years, numbering among his — 


pupils James MeNiell Whistler. He specialized in Portrait and Histori- 


cal painting, being one of the first in America to practice the latter 7 
branch. Among his best-known examples may be quoted “The Land- 7 
ing of the Pilgrims,”’ in the Rotunda of the National Capitol; ‘‘Colum- 7 
bus Before the Council of Salamanca;” “The Last Communion of 7 


Henry Clay,” and the effective portrait of ‘‘“Red Jacket.” 


Pen and ink. Sepia. From the Lane Collection. 


SEATED FIGURE OF A MAN in 16th Century Costume. 


Study of a seated sixteenth century male figure with a sword at his 


side, dressed in wide-sleeved doublet and hose, wearing a flowing 
cloak and supporting his head on his right hand; the other is on his 
knee. At his feet lies a sleeping dog. Drawn with considerable freedom. 


T¥e; W. 996 


Pen and ink. Sepia. Signed, R. W. Wear, in lower right-hand corner. 
From the Lane Collection. 


10 


H. 934; W. 7) 


JAMES McNIELL WHISTLER 
[NUMBER TWENTY-ONE] 


RICHARD PARKES BONINGTON 
[NUMBER TWENTY-EIGHT] 


James Abbott McNiell Whistler 
Lowell, Mass. 1834. London 1898 

‘21 RIVER VIEW 

A wide and breezy river view, with banked masses of clouds in the sky. 
From a wooded foreshore the stream stretches far out on the left to 


opposite the shelving beach that juts out into the waters. A skillful 
and bold record, aptly and unhesitatingly rendered, He epee great 
‘perceptive intuition. — H. 544; W. 834 
On reverse, a powerful and vigorous sketch of a turbulent sea with vessels 
in the offing. The treatment of the waves 1s most animated, the whole 
drawing being alert with movement, the tumultuous breakers and the 
_driving clouds being dexterously expressed without undue exaggeration. 
“Pen and ink. Signed in pencil, lower right-hand corner, “Whistler.” 
From Geo. C. Clark Collection. 


[SEE ILLUSTRATION] 


Alexander H. Wyant, N.A. 

\ Seis Port Washington, Ohio 1836. New York 1892 

22 STUDY OF A TREE 

5 A delicate and sensitive sketch of : a tree and foliage, BEBE hee effec- 
S — tive in expression: H. 10; W. 634 
Lead pencil. 


BRITISH SCHOOL 


NUMBERS 23-107 


Frederick Barnard 
London 1846. Wimbledon 1896 


: 23 ILLUSTRATION FOR DICKENS 


This drawing was evidently a rejected sketch, intended to represent 
“the mysterious pupil” in Charles Dickens’ “Our School,”’ which first 
7 appeared in “Household Words” and was afterwards included in the 
| volume issued under the title of ‘Reprinted Pieces.” Barnard, who 
h ~unfortunately lost his life in a fire which occurred while staying at a 
friend’s house, achieved much credit for his delineations of Dickens 
characters. H. 12; W. 8% 
Pen and ink. Signed, F. Barnard, lower right-hand corner. From the 
Latta Collection. 


James Barry, R.A. 
| Cork 1741. London 1806 
24 A SIBYL 

A classically draped female figure, seated in a stone cell reading a roll 
. -of manuscript; the light of an antique lamp suspended on the wall 
to producing a pleasing effect of chiaroscuro. Barry was elected in 1782 
| Professor of Painting at the Royal Academy. H. 6; W. 4 
Pen and ink. Sepia, heightened with white, on light brown tinted paper. 
Signed, J. B., in lower center and dated 1804 in lower left-hand corner. 


11 


a distant rising ground, while a grove of trees is shown on the bank — 


25 


26 


27 


28 


Francis Bartolozzi, R.A. 

Florence 1728. Lisbon 1815. 
BUST PORTRAIT OF BURNET READING facing thikecinartehl 
Sketch portrait of Burnet Reading, engraver, in wig and broad- | 
brimmed hat. Though delicately touched, the light and shade are 
well rendered and this is apparently a faithful likeness. Bartolozzi’ S | 
fame rests more upon his engravings than upon his drawings, Sue + | 
many excellent examples of the latter are extant. H. 3%; W 2K 4 | 
Lead pencil. | 


PORTRAIT OF AN UNKNOWN LADY 3 q 
A graceful and expressive portrait sketch, half-length, of a lady clasp- 

ing her hands to her bosom, displaying considerable delicacy and ease | 
of handling. As a portrait ‘drawing it possesses siaia charm both in 
pose and demeanor. H. 454; W. 3/ 8 | 
Lead pencil. | 


‘ William Blake 
London 1757. London 1828 


THE FALL OF THE ANGELS . i 
A weird and unique drawing. An archangel with winged feet, bran-7 | 
dishing in his right hand a curved sword, hurls with the other flaming ~ 
thunderbolts at two winged forms, one with arms extended falling” | 
discomfited into the darkness of an abyss. In the foreground a stricken” 
figure lies helplessly prone. There is magnificence in the valiant 
action of the principal form, an accentuated sense of animation, swift 
and inexorable. The vibrant rapidity of the composition is shown i in 
the nervous quality of the wavering lines; the entire treatment is — 
peculiarly exceptional and individual. H. 8%, W. 7% 


Pen and ink. Sepia. Signed and dated lower right-hand corner, W. | 
Blake, 18 June, 16. | 
[SEE ILLUSTRATION] 


Richard Parkes Bonington 
Arnold near Nottingham 1801. London 1828 


ANCIENT HOUSES IN FRANCE 


An ornately fronted and gabled house, the structural details and orna- 7 
mental carvings being beautifully brought out in the drawing, and its © 
pictorial quality enhanced by the introduction of various figures. A ~ 
valuable specimen of Bonington’s art. A very fine example of archi-~ 
tectural draughtsmanship with much pictorial quality. Bonington, at > 
the early age of 15, entered as a student at the Louvre and later at the © 
Ecole des Beaux Arts became a pupil of Baron Gros. This training © 
by grafting a French style upon his English art instincts produced a 7 
happy strain, preserving his individuality of manner and treatment. 
It was while studying in Paris that the almost perfect bond of com- 7 
radeship, lasting till death, was formed between Eugene Delacroix 
and Bonington. He was a great student and admirer of Constable ~ 
and has been quoted as being the link between the men of classic fame ~ 
in England and the Barbizon School H. 6; W. 835 — 
Lead pencil. From the H. Bonrenno and P. Martin Collections. 7 
[SEE ILLUSTRATION] 


12 


WILLIAM BLAKE 


SEVEN| 


[NUMBER TWENTY 


bs - COSTUME SKETCH of a 16th Century Historical Scene. 


A broadly blocked-in, preliminary composition toned with local color- 
ing, representing Henry the Eighth, seated in a chair of state on a dais, 
dispensing justice to a condemned foe, whose sword is being broken 
across the knee of a court officer, in token of disgrace. To the right 
and left are grouped interested spectators. H. 6144; W.8 


Water color. 


THE TOWN HALL, SOUTHWARK, LONDON 


___ A picturesque water color of the Town Hall in the Borough of South- 
_wark; nearly opposite stood the Old Tabard Inn from which Chaucer’s 
- Pilgrims started on their journey to Canterbury. The Town Hall 
replaces the old church of St. Margaret on the hill, which in early 
days occupied this site. The atmospheric effects and delicacy of 
- expressions in this drawing are noticeably good; the natural values 
and correctness of grouping of the foreground figures are simple and 
_ effective, the light and shade in the whole picture being harmoniously 
: expressed. This may be considered one of Bonington’s best topo- 
_ graphical pictures. H. 854; W. 634 
_ Water color. 


" BARDOLPH AND NYM 


A diverting little character study representing Bardolph and Nym, 
~ from Shakespere’s “Merry Wives of Windsor.” The smooth and 

- subtle delicacy of coloring, the free and spirited execution of this 

diminutive drawing is notably enhanced by the shrewd humor, so 

cleverly delineated on the leering face of the principal figure. 

Water color. H. 2%; W. 2% 


82 INTERIOR OF A CLOISTER 


A detailed sketch of a cloistered Courtyard surrounded by pillared 
“galleries; through the arched openings in the upper story can be 
“noted the vaulted ceilings and low doorways. The finials, gargoyles, 
____ and other projecting portions show elaborate carving; in the foreground 
of the Court are two monks, a third is seen passing oes the 
covered way at the rear. H. 654; W. 854 


Lead pencil. 


William Henry Brooke 
London 1772. Chichester 1860 


33 GROUP OF FOUR HUMOROUS DRAWINGS (Punning) on one 
mount. 


(a) ee figure of a smith holding a hammer in his left hand; 
the background a thatch-roofed smithy, punningly ba eaeiune 
O— “Hammersmith.” H. 4; W. 3 
(b) This represents no less than four illustrated puns showing various 
wine measures: The left a butcher’s boy, aproned, with a steel at 
his side, bearing on his head a wooden tray containing a hog’s head ; 
to the right a figure of Punch on a butt or bluff, smoking a pipe; 
below him an archery target or butt, i. e. Hogshead, Puncheon, 


a = 


13 


Pipe and Butt. H. 4; W 3 


34 


35 


Se 


(c) A male figure in late Georgian costume, standing within a le ee} 
decorative letter U inscribed above “Emblem of Cruelty” and} 
below “In-hu-man”’ (In-u-man). H. 544; W. 87 1a 
Signed, lower left-hand corner, Brooke. iE 

(d) A bewigged waiter dressed in the period of 1790, his lips fasten ed | 
together by a padlock, bearing on a platter a sucking pig. | 
aeee above “A Piece of Furniture,” and below “A Dumb 

aiter.”’ | b 

This artist was for many years an exhibitor of portraits and figure 

subjects at the Royal Academy, but was more generally known for 

his illustrations to such works as Moore’s “Irish Melodies” and Iz 

Walton’s “Compleat Angler.” Punning in various forms had a vo 

for many years in England, nor did some of the best-known writers) 

disdain to use it, a notable example being Tom Hood’s “Faithless | 

Nelly Gray.” =H. 54; W. 34) 

Pen and ink and water color. Signed, lower left-hand corner, Brooke. 


Ford Madox Brown 
Calais 1821. London 1893 


SUFFER LITTLE CHILDREN TO COME UNTO ME 


A composition of six figures: Christ seated, his right arm ondiheliniale ag 
child, the left raised in invocation, while a young girl beside him 
prays; next to her a kneeling woman in an attitude of devotion 
crosses her hands on her bosom; to the right another female with her | 
arm around a maiden’s shoulder. In the background a suggestion of a 

stone building and a cloudy landscape. 
This drawing, very Italianate in feeling, was doubtless made by | 
Brown while in Rome, where he went after his preliminary studies in 
Antwerp under Baron Wappers. Eventually he came to England, 
where, in spite of his difficulty experienced in attracting the notice of 
the general public, his striking individuality caused Dante Gabriel 
Rossetti to apply for acceptance as a pupil. Brown was in advance of 
his age and was a pre-Raphaelite before the word was coined, and 
though not identified with the movement at its inception must be 
considered its progenitor. H. 8144; W. 10% 


Wash. Reddish brown, on blue paper. Signed, at base, M. Brown. 


Henry William Bunbury 
Mildenhall, Suffolk 1750. Keswick 1811 


CARICATURE OF SIR JOSHUA REYNOLDS, P.R.A. 


A racy and spirited sketch accentuating in the size of the nostrils Sir 
Joshua’s excessive snuff-taking habit. Bunbury achieved some note 
as a caricaturist and humorous reproducer of the everyday life of his 
time, also as a contributor to Boydell’s Shakspere. His wife wast 
one of the famous Horneck sisters celebrated by Oliver Goldsmith, 
the other one, Mary, having been the heroine of the only love affair 
of Sir Joshua Reynolds. This sketch was utilized by Bunbury for the 
artist’s head in the well-known travesty “‘A Family Piece,’ engraved 
by W. Dickinson. H. 9; W. 73% 

Pen and ink. tt 


14 


Alfred Edward Chalon, R.A. 
Geneva 1781. Kensington 1860 


6 A HISTORICAL GROUPING OF FOUR FIGURES in 17th 
- Century Costume. — 


A royal personage issuing commands to two courtiers in Carolian 
dress, who signify their acquiescence by rising and bowing, while the 
stately figure sweeps majestically on, her train held up by an attend- 
ant maiden. This artist acquired considerable reputation at the court 
of Queen Victoria as a painter of royalty and was appointed by Her 
Majesty Royal Painter in Water Colors. H. 1834; W. 1534 


bua gas Vandyke brown. Signed, lower centre, A. E. Chalon. 


John Constable, R.A. 
East Bergholt, Suffolk 1776. Hampstead 1837 


37 VIEW OF AN ANCIENT, PARTLY RUINED CHURCH 


|, A remarkably fine and brilliant sketch of an old church, flanked on 

Pe the right by a low building embowered in trees, one of which fills the 

“right foreground; to the left is another house. The arrangement 

' of light and shade is admirably effective and, while broad in treatment, 

the sense of detail is subtly preserved, resulting i in a unity of purpose 
and directness peculiarly satisfying to the eye. 

' John Constable, simple and unaffected, absorbed in his great art, 

ranks today with Gainsborough as one of the founders of the school 

_ of British landscape painting. He was a pioneer of verity to whom the 

artists of Barbizon, as well as every lover of nature, owe the perception 

of the poetic sense of natural effect, in contradistinction to the classi- 

_ eally composed ordonnance of an earlier day. H. 7%; W. 1835 


Lead pencil and wash. Sepia. Signed and dated in lower centre, J. 
Constable, R. A., 1829. 


38 A TWILIGHT SCENE 


An exquisitely luminous interpretation of the soft stillness of a fading 
day. Silhouetted against a mellow sky, in which the rising moon 
glows softly, are seen the tops of houses and trees; above these rises 
the pointed spire of a church. Peaceful quietude reigns over all, 
7a accentuating the somber, shadowy trees encircling the limpid pool, 
_@ -whose rippling surface mirrors the eerie almost indistinguishable 

forms of its dusky surroundings. H. 544; W. 8}; 


Water color. 


Henry Corbould 
| . London 1787. London 1844 
389 COMMERCE, vignette design for bank note. 


Draped classic female figure, standing within a niche, holding in her 
left hand a fruitful cornucopia, resting the other on an oar of Greek 
form. On base the word ‘Commerce.’ Corbould specialized in 
drawings of antique marbles for engraving, but also drew consider- 


15 


(ei, 


40 


41 


42 


ably for book illustrations. It is claimed that in this field “His wor k 1 
was among the most graceful and effective productions of the age’ 

(Bryan). H. 5:5; W. 33% 
Wash. Sepia, on Bristol board. Signed, in pencil, Corbould fecit, mn 
lower right-hand corner. Inscribed on reverse of mount, “Presented to} 
me by Chas. Tappan, Esq.” From the Lane Collection. 7 


Maria Cecilia Louise Cosway 
Leghorn 1745. Lyons 1821 


PORTRAIT OF A LADY, half-length, facing three-quarters to left | 


A rapidly-sketched portrait of a lady in high coiffure with hands) 
folded in front of her. A life-like representation produced in a few); 
sae good in composition, displaying a pleasant reposefulness ] 
attitude. 

Maria Cosway would have achieved greater prominence as a minia 
turist had her efforts not been overshadowed by her husband’s reno | 
She studied in Italy and after arriving in England engaged in victoria 
illustrations. She was a contributor to Boydell’s Shakespeare Gallery | 
and Macklin’s Lives of the Poets. Subsequent to her daughter’s 
death she entered a religious institution which she had higen to 
found, where she expired in 1821. H. 4; W. 2 4 


Pen and ink. Sepia. 


PORTRAIT SKETCH OF A WOMAN’S HEAD 
A swift, expressive sketch of a woman, nearly in profile, facing to the 


right, with headdress fastening under her chin; the head drawn in| 
pencil and emphasized in ink, which is also used in defining the body. 


Lead pencil and pen and ink. Sepia. H. 534; W. 2%) 


f 


John Sell Cotman 
Norwich 1782. London 1842 


SOUTHWEST VIEW OF THE CHURCH OF ARQUES near * Dieppl 


A direct and vigorous architectural study; the linear perspective in} 
well-arranged definition, imparting dignity as well as grace of form 
to the elevation and expressing admirably the embellished elegance ol 
the Gothic period. The square low belfry tower crowned by a steep: 
pitched roof adds materially to the sense of proportion and correct- 
ness of design. Cotman was one of the band of youthful enthusiasts} 
who worked under the supervision of Dr. Monro. It included such) . 
names as Turner, Girtin, Varley, De Wint. Later, he returned tc)’ 
Norwich, identifying himself with the Norwich ‘Society of Artists,” 
and while there etched a number of plates from drawings made dur. 
ing a tour of Normandy in 1817. Removing to London he was 
appointed, through the influence of J. M. W. Turner, Professor oi 
Drawing at King’s College, where Dante Gabriel Rossetti studiec} 
under him. Though meeting with but scant recognition in his life! 
time, Cotman is ranked second only to Turner in the field of Englisk } 
landscape painting. H. 1234; W. 9¥ 
Lead pencil. se | 


David Cox 
Deritend near Birmingham 1783. Harborne 1859 


{ THE EDGE OF THE MOOR : 


_ A vast expanse of solitary moorland, broken only by a lonely thatched 
cottage flanked by a group of trees; the distance stretching away 
illimitably under a wide and depressing sky, while a faint glow of 
_. sunlight, piercing through a rift in the clouds, illuminates the bleak- 
*_ ness of the plain and falls across the road leading to the dreary habi- 
tation. The whole picture is permeated by a feeling of vague and 
spacious stillness which the low key of coloration accentuates. 


_ Water color. From the Lane Collection. H. 654; W. 11% 


% EDINBURGH CASTLE, SCOTLAND 


_ A well-executed drawing of Edinburgh Castle, the massive pile 
§ dominantly topping the rocky hill known as Arthur’s Seat, its battle- 
mented roof outlined against the sky and the frowning ramparts of 
__, the rounded fortress defended by the semi-circular openings pierced 
~ tor the cannon which safeguard it. The precipitous slopes are drawn 
_ with natural effect and a feeling of towering strength predominates. 
In the immediate foreground stands a bonneted and plaided figure. 


From the Lane Collection. H. 654; W. 85% 


5 CONWAY CASTLE, WALES—AN ESTUARY 


Under a canopy of threatening clouds, a soft glow glimmers on the 

_ horizon; perched on the extremity of a bold headland rise the turreted 

battlements of Conway Castle, showing darkly against the distance; 

_ _a tranquil light lying along the placid sea reflects the leaden hue 

_~ above. Below, at the foot of the promontory, is seen an estuary in 

which lie various craft; the low land to the right sloping to the water’s 
edge, a steep hill merging into it in the left foreground. The entire 
drawing exhibits a subdued yet impressive unity of tone. 


Water color. From the Lane Collection. H. 334; W. 11% 


George Cruickshank 
London 1792. London 1870 


6 FIRE AT COVENT GARDEN THEATRE (1856) 


An unusually large drawing of the destruction by fire of Covent 
' Garden Theatre on March 5, 1856. The view is from the stage; the 
- curtains, pillars of the proscenium arch, the boxes and galleries all 
’ _erashing in disastrous confusion, in the midst of which the massive 
chandelier falls, while panic-stricken victims exhibit every symptom 
of terror and dismay, many of the unfortunates being pinned beneath 
the shattered debris. 
Cruickshank was one of the most prolific of illustrators and introduced 
a peculiarly individual style, especially in his humorous productions. 
His versatility was displayed as a painter in oil, an etcher, a wood 
engraver, and a lithographer. 


Pen and ink, washed india ink and tinted with blue. 
17 


AT 


49 


50 


Pd 


‘British art. H.5; W. 7% | 


Lieut.-Col. Joseph Frederick Walsh Desbarres 
London 1722. Halifax, N.S. 1824 


GREAT HARBOR OF MALTA, with the new city of La Valett | 4 


A view of the City of Valetta, Malta, a strongly fortified town ar 
harbor, with its buildings rising terraced from the sea. In the mid di) 
ground war vessels at anchor refitting, other shipping and small ¢ af) 


mee between them a galley being swiftly rowed to a ship prep 
to sal 
Desbarres, who held a commission in the Engineer Corps of the Britis af 
Army, being connected with the Survey Department, served in a cam) 
paign against the Indians and later against the French Settlers in North i e 
America. Eventually he became in succession Lieut.-Governor | 
Cape Breton and of Prince Edward’s Island. He also made extensiv 

surveys and drawings of the Atlantic and North American coast 

subsequently published and now rare. H. 444; W. 15% | 


Pen and ink and wash. India ink, tinted with blue. 


Samuel Dewilde 
Holland 1747. London 1832 


PORTRAIT OF MRS. SARAH HARLOWE, Actress 


A sensitively drawn portrait, delicately treated with much expres-| 
sion, the form lightly outlined. Dewilde devoted himself chiefly to: 
dramatic portraiture, though also practicing in both oil and water 
color; his chalk drawings indicate great dexterity. H. 1214; W. 9 M4 i 


Charcoal. Black and red chalks. Signed, lower right-hand corner, DeWilde. | 


PORTRAIT OF JOHN BANNISTER, Comedian | 


A strong character sketch, vivid and full of personality. | 
John Bannister was an intimate associate of the convivial group of 

young artists and caricaturists who flourished towards the end of the | 
eighteenth and the beginning of the nineteenth centuries. A boon com- | 
panion and quondam fellow art student of Rowlandson’ ’s, he is said | 
to be the originator of the “Tour of Doctor Syntax.” 


Black and red chalks. H. 535; W. 45 | 


Peter De Wint 
Stone, Staffordshire 1784. London 1849 


GRAVEL PITS AT HAMPSTEAD 


This is a charming example of De Wint’s clear and limpid rendering of 
atmospheric distances. Taken from the highest point above London, | 
which merely appears as a faint blue haze on the horizon, the scene, 
tranquil in its coloring, is extremely restful yet conveys a sense of | 
spaciousness and breadth. : 
De Wint, whose father was born in New York, was early papmenticee | 
to John Raphael Smith, best known as an engraver in mezzotint, and | 
became one of that notable group of Dr. Monro’s earnest students, 
destined to add so much glory to the field of contemporaneous | 


ak 
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Water color. 
18 


John Wilson Ewbank, R.S.A. 
Darlington 1799. Sunderland 1847 


THE TRAVELLER’S REST 


A delightful drawing of a quaint old thatched inn near Stirling, situ- 
____ ated beside a winding country road, embowered in overhanging trees 
__ which are reflected in the calm water at the foot of the bank. 

__ _Ewbank, well and favorably known as a landscape painter, was one 
4 -of the founders of the Royal Scottish Academy, 1826. H.8; W. 7% 
Lead pencil on Bristol board. Signed and dated, “J. Ewbank, S.A., 
1835, from one of my paintings.”’ On reverse, an unfinished sketch of 
the same subject. From the Lane Collection. 


4 
| 
7 Henry Fuseli, R.A. 
A Zurich 1741. London 1825 
f 52 SHAKSPEREAN SCENE 


mA tragic scene of dramatic force, showing an armed Roman warrior 
_ pointing with a naked sword at a swooning female figure supported 
on the knee of an attendant maid, while four others stand grief- 
stricken beside her. Beneath the frowning fortified wall of the edifices 
in the background are congregated a phalanx of Cesarian Legion- 
aries in martial array, bearing shields and spears, holding aloft trium- 
_ phal trophies, fascules, ete. An unusually good conception of mass 
eomposition, the chiaroscuro well, though simply, defined, and the 

.* attitudes charged with sentiment and unity of purpose. 
| Fuseli, who came to England at an early age to make literature his 
profession, was dissuaded from this purpose by Sir Joshua Reynolds. 
As an artist Fuseli was truly original and his anatomical knowledge 
remarkable. Like many of his colleagues he contributed illustrations 
to Boydell’s Shakspere, for which publication this drawing was 
- evidently executed. H. 1444; W. 19% 


Pen and ink outline. Wash. sepia. 


Thomas Gainsborough 
Sudberry, Suffolk 1727. London 1788 


) 53 FULL-LENGTH PORTRAIT OF THE HON. MRS. GRAHAM 


A superb drawing of a standing figure of a lady, facing three-quarters 
Ve to the left; abounding in majestic grace, ease and dignity, an aristo- 
_¢&*” eratic air pervading the entire composition; the attitude extremely 
refined, the treatment full of breadth and freedom, and simple in 
tone. The face, replete with sweetness and charm, exhibits a cultured 
amiability delightfully emphasized by the archly tilted hat and feath- 
ers set lightly on the poudré hair; the casting of the draperies is 
simply but effectively rendered, while the soft tones blend into per- 
fect harmony. The skillful handling displayed throughout is that of 
the Master, unaffected and free from all exaggeration. A refinement 
of manner is noticeable in the singular correctness of design main- 
tained in spite of the lightness of touch and facility of execution. 
This rare intuition manifests, in a marked degree, Gainsborough’s 
undoubted mastery of portraiture. 


19 


The Hon. Mrs. Graham, née Mary Cathcart, was ae dashes of 
Lord Cathcart. She was early married to the Hon. Thomas Graham, 
who subsequently was created Lord Lynedoch. Her wedded life wa 
brief and her husband was so grief-stricken at his loss that he cau od 
the entrance to the room in which her portrait hung to be bricked 
up and it was not until his death, some fifty years later, that the 
picture again saw the light of day. It now hangs in the Royal Scottish 
Academy in Edinburgh. Her great beauty charmed Gainsborough; 
this is shown in the original drawing, which shows a greater degree of 
finish and care than is displayed in most of his preliminary sketches. 
It is interesting to note the slight variations of pose and accessories 
between the original draft and the finished picture, as follows: The 
right arm is lowered and holds a folded fan; the topmost feather in the 
hat is more erect; the pillar on the right side of the picture is brought | 
in closer to the fioure to enable the left arm to rest on the base; the 
pannier draperies and the left hand disposed nearer to the waist and 
the direction of the gaze changed from left to right. These details 
emphasize the authenticity of this important eee 

He A W. 814 
Black chalk, lightly treated in color on blue-grey paper. pe 


[SEE ILLUSTRATION] 


Ronald Gray 
Contemporary British Artist 
PORTRAIT OF MISS KITTY DEACON 


A graceful drawing, reposeful yet free, with much pista ty of treat- 
ment and unity of design. H. 1214; W. 8% 


Black chalk, tinged with colored chalks, on greyish green tinted paper. 
Signed and ‘dated, lower right-hand corner, Ronald Gray, ’08. 


William Hamilton, R.A. 
Chelsea 1751. Soho 1801 


INTERIOR OF A RUINED ROMAN EDIFICE, embellished with 
statuary. 


This picture shows a group of six figures in varying attitudes, the 
whole drawn with much facility of execution. 
Hamilton studied in Italy under Lucchi, and was a painter of portraits 
and historical subjects. He also designed illustrations and was one 
of the collaborators of Boydell’s Shakespere. H. 124%; W. 8% 


Wash. Indiaink. Inscribed on reverse of original mount, “In the collec-~ 
tion of Sir Jeffrey Wyatviile, R.A., and presented by his daughter, Mrs. 
Knapp, to the Rev. W. J. Moore, 1840. iy 


20 


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Sylvester Harding 
Newcastle-under-Lyme 1745. London 1309 


FRONTISPIECE TO PORTRAITS OF THEATRICAL PER- 
FORMERS 


An interesting design showing Tragedy and Comedy on either side of 
a eurtained opening which discloses a Gallery whose walls are hung 
_ with pictures of notable Thespians. In the centre is a bust of Garrick 
on a pedestal within a niche. The figure to the left representing Trag- 
£ edy crowned and clasping a dagger, rests her arm upon a canvas 
4 depicting Mrs. Siddons in a tragic attitude, from which a seated 
| cherub in the centre is making a drawing. A partly-draped figure of 
| ____ Comedy, crowned with flowers and holding a wand, raises the dra- 
peries on the right. 


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Ps. 


| g Harding, who practiced for a time as a miniature painter, subse- 
quently issued several publications of engraved portraits of theatrical 
_____and other prominent personages. H. 124%; W. 914 
_ Water color. | 


Sir George Hayter 
London 1792. London 1871 


567 PORTRAIT OF A LADY MUSICIAN 

A facile and graceful composition of a lady wearing a turban, lightly 
- resting her hands on a violoncello, her elbow on a piece of furniture 
10 -~ supported by a carved cherub, while on the other side one sees 
i draperies and a sheet of music. 
} Sir George Hayter was for many years the fashionable portrait artist 
iF at the court of Queen Victoria, painting many members of the royal 
family. H. 1154; W. 85% 
Pen and ink. Sepia, heightened with white, on buff-tinted paper. Signed, 
lower right-hand corner, G. Hayter, Paris. 


Francis Jukes 
Mariley, Worcestershire 1746. London 1812 


58 LANDSCAPE, WITH A VIEW OF CASTLE AND TOWER 
A pleasing and effective painting, rather in the French manner, of a 
group of buildings on the bank of a stream in a hilly landscape with 
wv ) trees in the immediate foreground; the whole picture broadly treated. 
a ~ Jukes’ reputation largely rests on his aquatints; this process he is 
said to have been the first to apply to topographical illustrations, 
many of which were printed in color in his own distinctive manner. 


Water color (Gowache) on buff tinted paper. H. 744; W. 914 


Sir Edwin Henry Landseer, R.A. 
London 1802. London 1893 


59 MOONLIGHT SCENE, Cattle on the Scotch Hills. 

In the soft glow of the moonlit sky with its drifting clouds, two Scotch 

long-horned cattle are seen resting on a rising ground. The sweet 

stillness of the night permeates the whole picture, which manifests 

skill and unity of purpose, both in coloring and arrangement. 

Water color. H. 75g; W. 1114 
21 


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62 


63 


64 


STUDY OF TWO SHEEP. 


A clever sketch, rapidly brushed in, of two sheep, one standing, t thy 
other lying, in the herbage; the texture of their woolly coats is mos 
effectively rendered. H. 54%; W. 8% 


Wash. India ink. 


Sir Frederick Leighton, P.R.A. 
‘Scarborough 18380. London 1896 


STUDY OF DRAPED FIGURE 


A nearly full-length male figure, facing front, in cassock and gown. — 
A characteristic example of Leighton’s freedom and ease of manne 
in sketching. H. 1434; W. 8% 
Charcoal, heightened with white, on greyish buff paper. From Geo. D. 
Morse Collection. . 3 


Henry Liverseege, R.A. 
Manchester 1803-1832 


FANCY PORTRAIT OF A LADY WITH A MASK 


A decorative costume picture of a lady, half-length, in a jewelled antl 
feathered head-dress, wearing a cloak and lace cuffs and collar, holding 
a mask in her right hand. 
Liverseege, who worked both in oil and water color, was extremal 
popular, his pictures, mostly Shaksperean subjects or scenes from 
Scott’s writings, were extensively engraved and were held in great 
esteem. H. 734; W. 5% 


Water color. From the Lane Collection. 


John Martin 
Haydon 1789. Douglas, Isle of Man 1854 


A THUNDERSTORM ON THE HEATH 


An expressive representation of natural effects, displaying the impos- 
ing power of the elements in action. The rolling banks of cloud piled ~ 
up in thunderous majesty, broken by the vivid flash striking with 
destructive force; and over all, breaking through the turbulent mass, 
is the promise of peaceful sunshine to follow. The a defini- 
tion is admirably correct. H. 854; W. 1149 
Wash. India ink. On the reverse of the original mount was inscribed, 
“This sketch appears in the ‘Deluge’ and the ‘Fall of es 2h a 


George Morland 
London 1763. London 1804 


THE SHEPHERD’S NOON-DAY MEAL . 


A remarkably fine study of a shepherd boy standing under a leafy 7 ) 
tree, a chunk of bread in one hand and a clasp-knife in the other, while — . 3 
at his feet his faithful dog lies, looking up expectantly at his master : 
for his share of the food; close by is a “little brown jug’ and in the © 


22 


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GEORGE MORLAND 


FOUR 


NUMBER SIXTY- 


[ 


background a couple of sheep are outlined. This singularly happy 
expression of bucolic life combines simplicity of subject and senti- 
ment, vigorously and effectively rendered; the unaffected ingenuous- 
ness of the boy’s face and attitude is strikingly typical of an artless 


rustic. ae 
Morland, an exhibitor at the early age of 10 at the Royal Academy, 
inherited his genius; for both his father and grandfather were artists. 
His fertile productiveness has rarely been equalled, and had this self- 
called “Drunken dog’”’ not devoted himself in equal measure to art 
and debauchery his fame would possibly have transcended that of 
any artist of his time. None of his contemporaries pictured with such 
genuine warmth of feeling and color the cheerful labors and homely 
happenings of the bygone days of England’s countryside. 
, H. 14144; W. 1134 
This drawing is quoted as “Shepherd Eating,” etched by Morland and 
_ assued as a colored plate. Geo. Dawe’s ‘‘Life of Geo. Morland.” From 
the Evans, Dexter and Anderson Collections. 


[SEE ILLUSTRATION] 


65 THE RESTING SHEPHERD 


ig A well-executed drawing of a shepherd boy drowsing, cross-legged, in 
2 if the shade of an overhanging tree; his right hand holds a crook, a 
~ sheep alongside a fallen log nestles in his left arm and beside the 


os 


adjacent bushes his hat lies on the grass. The sunlight and shadow in 
this picture are unusually well demonstrated. H. 74%; W. 9% 


Wash. India ink on yellowish tented paper. 


66 TWO SKETCHES OF THATCHED BYRES or outhouses, on one 
sheet (cut through). 


& Two well-defined drawings of rustic buildings treated with much 

_ > freedom and character, demonstrating accuracy and deftness of 

i _ execution combined with rare knowledge of the theme. In a few swift 
touches is indicated an illusion of solid form and mass as absolute 
as a finished painting. H. 8; W. 5% 
Lead pencil, washed with sepia. In the upper left-hand corner is a 
collector’s mark illustrated in Fagan as No. 604. On reverse of original 
mount was inscribed in pencil, Morland. 


William Payne 
Plymouth 1770. London 1830 


67 VIEW ON THE SOUND NEAR PLYMOUTH 


A soft and mellow sunset composition showing a thatched cottage set 
in a clump of trees by the water’s edge, below the dimly seen hills in 
the distance is the sound, on whose bosom shipping floats leisurely; 
in the foreground, a busy fisherman drags his trailing nets ashore. 
Payne was a member of the earliest band of English water-color 
artists; one of his claims to notice is the invention of the tint known 
as Payne’s Grey. H. 24%; W. 514, Oval 
Water color. Signed in right foreground, W. Payne. 


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Frederick Pegram 
Contemporary Artist 


SALLY IN OUR ALLEY 


An exquisite drawing showing Sally bedecked in all her finery de- 
murely sauntering down “‘Our alley,”’ while her lover eagerly advances — 


“Drest in all my best, to walk abroad with her.” 
Pegram is one of the ‘well-known band of artists who sit at Punch’s 


Round Table. His work always indicates a delicacy of feeling and — 
treatment that fully justifies his inclusion among theforemostdraughts- — 
men of the day. This drawing has been reproduced in dry point and — 
published in color by V. Winthrop Newman. H. 124%; W. 914 © 


Black chalk tinted with colored chalks. 


Michel Angelo Pergolesi 
DESIGN FOR A CEILING 


An elaborate detailed projection for a decorative ceiling, evidently 
drawn under the active supervision of Robert Adam, the architect, © 
who utilized Pergolesi’s services in the interior ornamentation of the ~ 


buildings whose particular style bears his name. 


Pergolesi’s work is so like Robert Adam’s as often to be mistaken for q | 
it, but it is distinctly more French in feeling and nearer to what was — 


done in Paris in the reign of Louis XVI. 


Pergolesi and Lucchi both actually designed architecture for the 
firm of Adam Brothers, besides painting decorative furniture, as also — 


did Cipriani and Angelica Kauffman, who subsequently married Lucchi. 
(There are no data extant of Pergolesi’s birth or death.) 


Water color, on buff tinted paper. H. 1734; W. 2444 


Samuel Prout 


Plymouth 1783. London 1852 
GODESBERG 


A splendid example of Prout’s architectural treatment, exhibiting an | 


exceptional sense of aerial perspective, unity of design and definition 


of light and shade. As a chronicle of exterior form, the subordinate — 
manner in which the lofty tower in the background dominates the © 


half-timbered thatched houses lining the ancient cobbled street, which 
stand out with virility, creates union and harmony combined with 


freedom and directness of purpose. H. 1244; W.9 © | 


Wash. Sepia. 


A VENETIAN CANAL 


A Picturesque drawing of a canal in Venice, flanked by quaint old 
structures; on the buoyant waters are several canopied boats with 
sails hanging listlessly on their masts while other oar-propelled ones 
are loading merchandise. In the background a tall Campanile stabs 
the clouding sky, while a massive ornate palace raises its galleried 
front to the right. Over all an agreeable sense of quiet and repose 
predominate. Heo 


Wash. India ink, heightened with white, on light brown paper. Signed 
lower left-hand corner, S. P. From the Lane Collection. 


24 


mils ve A Ronee reget 


SIR JOSHUA REYNOLDS 
[NUMBER SEVENTY-TWO 


Sir Joshua Reynolds, P.R.A. 
Plympton 1723. London 1792 


INFANT COMEDY 


A delightful study of a seated child, entirely nude, with uplifted right 
-__ arm, holding in the left hand a comic mask; behind is an arrangement 
of flowing draperies on which the figure is sitting, backgrounded in 
rich dark tones, broken at the left by sky and distance. This inter- 
__ esting painting has preserved all the original purity of the flesh tones, 
through being kept in a scrap-book by the former owner, George 


) @ - ensuring a clarity of color not often met with in those of Sir Joshua’s 
____ paintings that have been exposed to the action of light. For, although 
___ the artist endeavored by every method to master the secret of per- 
-__ manency of tint of the old masters, most of his flesh tones have faded 
__ out, with the result of unduly emphasizing the blue values used by 
him in the shadows. 

__ Of further interest is the well-established fact that in his larger and 
_ better-known examples Reynolds painted in the face and hands, his 

_ pupils or assistants putting in the draperies, accessories, backgrounds, 
‘SS ees . 

Sir Joshua Reynolds, the first great figure in British art, which he 
ennobled, was appointed First President of the Royal Academy on its 


he. 


in foundation, which position he held till his death. H. 7; W.53% 
Oil color, over pen and ink, on oiled paper. From the Geo. Romney 


j Collection. 
[SEE ILLUSTRATION] 


73 FULL-LENGTH PORTRAIT OF RICHARD BRINSLEY 
| SHERIDAN, ESQ., M.P. 


| A unique example of Sir Joshua’s method of composition, being a pre- 

50- liminary sketch of the Sheridan Portrait. This original conception 

| was subsequently altered to a half-length, necessitating the introduc- 

tion of a table whereon to rest the right hand of the subject, eliminat- 

ing the book shown in the primary study, adding an ink-well and quill, 

besides various papers, one of which is crumpled in the hand. The coat 

front has been lengthened and a greater number of buttons added, 

the disposition of the draperies and architectural details materially 
altered and the waist-coat cut at an open angle. 

This original study, like the preceding one, is entirely in the master’s 

own hand and displays a virility of execution and a modulation of 

harmonious tone that are rarely splendid. To achieve such a sense of 

hes and breadth of composition in so limited a space is excep- 

ional. 

Horace Walpole says of this picture: “It is not a canvas and color, 

It is animated nature; all the unaffected manner and character of the 

admired origina!.”’ H. 654; W. 4 


Oil color, over pen and ink, outline on oiled paper. From the George 
Romney Collection. 


OK 


Aix 
“ey 


(Romney, the painter, from whose descendants it was purchased, thus 


74 


16 


77 


ay: . 


STUDY FOR PORTRAIT OF LADY MARIA WALDEGRA\ VE 


A fragmentary composition rapidly executed in pencil for a half 
length seated portrait, Jater altered in pose, with the hair dressed 
higher when introduced in the group of the “Three Sisters Walde- 
grave.” H. 3%; W. 234 
Lead pencil. On the reverse is another hasty sketch in pencil of her sister, 
Lady Horatia Waldegrave, in the same attitude as shown in the jinished 
painting. } 


PORTRAIT OF AN UNIDENTIFIED MAN 


A half-length figure of a man holding an open book in his left hand, 
both arms resting on a table before which he is seated. Though 
lightly handled, the head is a remarkably fine study in portraiture, 
the animated expression being well marked and natural. With all its 
simplicity of execution this sketch bears the i impress of verity. | 


Lead pencil. . eee W. 3 j : 


George Romney 
Dalton-on-Furness 1784. Kendal 1802 


BACCHUS AND ARIADNE 


A group composition of four figures: The Drunken Bacchus, his 
wrists bound with flowers, lies prone on the ground at the foot of a 
tree with Ariadne leaning over him, clasping his head in her arms, 
while two nude youths stand near, one holding a staff, the other filling 
a goblet from a wine-skin slung over a projecting branch. Ariadne, a 
good portrait of Emma Hart, the “divine lady,” is utilized in an 
almost identicalattitude as Comedy i in Romney’s “Infant Shakespere. | 
Romney’s great obsession was to paint pictures of a noble and heroic 
type, and his diaries show that, though he divided the honors of 
portraiture with Sir Joshua, he ‘considered such work irksome and 
merely as a means to enable him eventually to devote his art to 
Shakesperean and classical renditions. . 20; W. 1034 
Pen and ink and wash. Sepia. The painting of which this is the 
original study ts in the collection of Ed Cooper, E'sq., and was shown 
at the exhibition of Art Treasures in Dublin, 1873. 


Thomas Rowlandson 
London 1756. London 1827 


GREENWICH, with a view of the old Salutation Tavern. 


A fine example of uncommon size by this wonderful artist. The 
massing, grouping and coloring of this composition are exceptional in 
character and natural effect; a humoresque appreciation of common 
life animates the entire scene. The aerial perspective is of a high 
grade, nicely adjusted to the varying distances and contrasts har- 
moniously with the bold and vigoroushandling of the swarming throng, 
crowding the landing stage in front of the old Salutation Tavern. It 
was in the bow-windowed dining room of this inn that Charles 
Dickens, some fifty years later, placed that exquisitely written scene 
of the elopement of the “Boofer Lady” with John Rokesmith in 


26 


— “Our Mutual Friend;” and it was from these wide windows that 
Bella, John and “Pa” watched the shipping pass up and down the 
stream. In the distance is seen the facade of Greenwich Hospital, 
once the home of Britain’s invalided naval pensioners, in the painted 
hall of which Nelson’s body lay in state after his last victory at 
Trafalgar. , H. 138; W. 19% 
Water color, outlined. Messrs. Sotheby, of London, when selling this 
picture at auction on the 9th of December, 1912, catalogued zt as “‘Billings- 
gate,” but further research has duly identified it, and Grego in Vol. II, 
page 417, of his ““Rowlandson,”’ mentions it as being in the collection of 
the late W. T. B. Ashley, Esq. From the Ashley and Ottley Collections. 


x [SEE ILLUSTRATION] 

78 VIEW IN CORNWALL 

A most effective landscape drawing, soft and harmonious in tone, 
_____ showing a stone mill on a rocky shore; on the opposite side other 
buildings; in the distance a wooded hillside, at the foot of which is 
‘>, _an estuary with a sail-boat on its waters. In the foreground, a fishing 
J 0 “smack and boats drawn up on the strand, also groups of men with 
teams and carts. H. 11; W. 1544 
__ Water color. Grego’s “‘Rowlandson,” Vol. II, page 423. From Joseph 
Grego’s Collection, “Corn Mill in Cornwall.” 


79 AN UNEXPECTED RETURN or a Snip in Danger. 


A humorous conception of considerable artistic quality, illustrating 
an interesting situation; Jack’s unforeseen and ferocious advent into 
the domestic felicity of his erstwhile bride now happily wed to Snip 
has filled his terror-stricken rival and his assistant also with dismay, 
while the fair cause of dissension endeavors to soothe the outraged 
} / 0 feelings of her former mate by saying, “Why, Jack! I thought you 
| was dead, and am now married to Mr. Snip.” These words are written 
in pencil in Rowlandson’s hand at the foot. The composition and the 
freedom of treatment in this drawing show Rowlandson at his best; 
his delineation of character is well emphasized in every line. 
H. 1134; W.9 
Water color, outlined in india ink. Quoted in Grego’s ““Rowlandson,”’ 
page 297 (erroneously dated 1815?). Signed and dated “Rowlandson, 
1806.” 
On the reverse is a preliminary pencil sketch of another whimsical conceit. 
A remarkably stout old gentleman, wagging his forefinger deprecatingly 
_at a girl whose condition evokes comparison with his own ample girth. 


80 A TAILOR’S WEDDING 


A comical gathering of grotesque dancers in a barn-like structure, 

_ pirouetting gaily, hand in hand, to the strains of a blind fiddler. 

Enthusiastic merriment and frolic abandon mark this fantastic repre- 

? “sentation of lower-class types, conceived in Rowlandson’s raciest 

manner. H. 1056; W. 858 

Water color, outlined in india ink. Illustrated in Grego’s ‘‘Rowlandson,”’ 

Vol. II, page 276. Published by T. Tegg (315), February 20, 1814. 

Also quoted Vol. II, page 426, under caption, “The following drawings 
have also come under the editor’s attention.” 


27 


—— 


81 


82 


/20—- 


83 


A TOAD EATER| 


A fantastic and satirical delineation of an unprepossessing half- — 
length figure, with a grotesquely hideous face, wearing a red night- 
cap on his head and a napkin tucked around his neck, gorging himself _ 
with green toads, impaled on a knife and a fork held in either hand, ~ 

while another two are seen on the table and drooping from a bow] in 
front of him. H. 87%; W. 73% 
Water color, outlined in India ink. Illustrated in Grego’s ““Rowlandson,”’ 
Vol. II, page 421. From Joseph Grego’s Collection. 


DES ais 


HUMOURS OF HOUNSDITCH, or Mrs. Shevi in a Longing Condi- — 
tion. : 


A ludicrous drawing, best described in Grego’s words, ‘‘A member of 
the Hebrew tribe, who carries a bag slung on his arm, is bearing for- — 
bidden luxuries to two fair representatives of his race. A couple of — 
Jewesses whose persons are resplendent in jewellery are leaning over ~ 
the wicket gate of their premises, lost in admiration at the spectacle _ 
of a little stranger—a suckling pig—which the tempter, who has led ~ 
the maternal sow and entire porcine family astray, is holding out for q 
Mrs. Shevi—a sufficiently motherly-looking lady—to salute with a © 
kiss. Another Hebrew gentleman, who is overlooking this transaction, — 
has his face thrown into horrified contortions and his hair standing on ~ 
end at marking the discovery of this incredible depravity.” ‘ 
The “porcine family”’ was introduced later in the etching as also a 
handbill offering a reward of five pounds for the recovery of the stolen 
sow and litter. H. 10%; .W 734 | 
Water color, outlined in India ink and vermilion. * 


Published by T. Tegg (213) Sept. 20, 1813. Also quoted in Grego’s 

““Rowlandson,” Vol. II, page 426, under the caption, “The following 

drawings have also come wnder the editor’s attention.” At the base, 
partly trimmed off, can be deciphered 1n Rowlandson’s writing, “Mrs. 
Shevi in a longing condition.” 


DOCTOR GALLIPOT placing his fortune at the feet of his Mistress. — 


A derisive drawing representing a kneeling medico laying before his 
inamorata the various implements of his profession, including his ~ 
affections, for the fair one’s acceptance. In the background, half 
concealed by a partly-open door, are seen two jeering spectators, 
evidently much amused at the gallant suitor. 

This original varies in some respects from the reproduction published 
in 1808, vide Grego, Vol. II, page 91, and reissued in 1810, Grego, 
Vol. II, page 198; being evidently from its dating (1804), the first 
conception, under the title of. ‘““The Apothecary in Adoration,’ 
Grego, Vol. II, page 419. Subsequently, the mortar and pestle was 
made less prominent, the box labelled ‘‘Love powders’ and the 
scissors dispensed with, the spinet replaced by a canopied bed, the 
attitude and dress of the central female figure changed and the girl 
in the doorway deleted. H. 1154; W. 93% | 
Water color, outlined in India ink and vermilion. Signed and dated, 
“Br left-hand corner, ‘““Rowlandson, 1804.” From the W. T. B. Ashley 

ollection. | 


28 


a 
4 


84 HUMOURS OF A RUSTIC INN 
A clever drawing, lightly sketched and washed in monochrome, 
showing a buxom maid in deshabille, screening the eyes of a newly- 
iH « arrived and bewildered traveller, who evidently has wandered into 
the wrong chamber; in the background his horse is being led away 
_} —by a hostler. H. 10; W. 8% 
| Pen and wash. India ink. Grego, Vol. II, page 425. Signed, lower 
right-hand corner, ‘“‘Rowlandson.”’ From Thos. Capron Collection. 


85 A MARKET DAY 


An outline drawing of a country market gathering with over fifty 
| figures drawn and indicated, illustrating the various diversions and 
a nv humors incidental to arural assemblage. In the foreground two women 
) dicker for pots, alongside an earnest group bargain for cattle and pigs, 
/ — while another crowd of rustics, gaping open-mouthed, surrounds a 

travelling dentist exercising his profession. Further off, corn in sacks 

is being chaffered for, in the distance other groups are seated at tables 
feeding, horse dealing, etc. The whole represents a scene of great 

animation, remarkably well designed. H. 544; W. 7% 

Pen and ink. From the Lane Collection. 


86 NYMPHS BATHING | 

A beautifully arranged group of eight female figures, entirely nude, 
; on a river bank, six standing and two seated in graceful attitudes; 
a gnare with wonderful directness and ease. Size 554; W. 8% 
> — Pen and ink outline, lightly washed in monotint. Grego’s “Rowlandson,’ 
/ Vol. II, page 417. From W. T. B. Ashley Collection. 


John Ruskin 
London 1819. Coniston 1900 


87 WHILE ORPHEUS PLAYED 


A bearded male figure, seated, the head resting on the right hand, the 
left plucking at the beard; in the distance a rugged landscape; under- 
| neath, inscribed in Ruskin’s meticulous hand, a verse from Shelley. 
Oe Ruskin, whose fame rests more on his writings, never attempted to 
P assert his own artistic gifts, though he was an occasional exhibitor at 
the Old Water Color Society. He was an artist of real, though 
restricted, talent, and he himself confesses his deficiency of invention 
and design. What he claimed was only such skill as to prove that he 
knew the good qualities of drawing. It may be said that he was the 
most literary of artists, and the most artistic of critics. H.9; W. 714 


Lead pencil and pen and ink. Sepia. On the reverse the entire poem of 
four verses in Ruskin’s writing. From Lane Collection. 


Robert Bremmel Schnebbelie 
London, N. D.-1849 
88 NEWINGTON GREEN, ISLINGTON 


A brilliant and remarkable example of topographical drawing, exqui- 
f sitely detailed with absolute fidelity. A rare and careful delineation 
] of a vanishing village. 


29 


89 


90 


Schnebbelie, the date of whose birth is unknown, inherited his talent 
from his father, Jacob, who was an antiquarian draughtsman of con- 
siderable merit. Robert, an occasional exhibitor at the Royal Acad- 
emy, was in much demand for illustration of such works as Wilkinson’s 
“Londina Illustrata’’ (1805-1825), Hughson’s ‘Description of Lon- 
don,’ and similar publications. . H. 4; W. 934 


Water color. Signed and dated, right-hand lower side, R. B. Schnebbelie, 
1840. 


George Shepherd 
London 1800-1830 
VIEW OF OLD SMITHFIELD MARKET 


An excellent representation of Smithfield Cattle Market, and of great 
atmospheric quality, with the early morning sun slowly dispelling the 


faint grey mist. In the foreground, groups of passers-by and two ~ 


aaiie ee 


Ry 


loaded hay wains; beyond these the pens for cattle; the whole back- 
grounded by antiquated houses and the spires of St. Bartholomew's — 


Church, making a picture full of old-world charm. 

Shepherd studied at the Royal Academy, where he also exhibited 
occasionally. He achieved considerable reputation in his day as a 
topographical artist, painting views in various parts of England, but 
chiefly in the Metropolis. His work is found in many of the contem- 
poraneous publications of that nature, such as Clarke’s “Architectura 


_ Eeclesiastica Londoni,’’ Wilkinson’s “‘Londina Illustrata,” and “The 


CERF HVE 4 


Architectural Antiquities of Great Britain.” H. 7; W. 10% © 


Water color. 
Thomas Stothard, R.A. | 
London 1755-1834 
FIVE ILLUSTRATIONS TO “OSSIAN,” on one mount. 


(a) “Oithona,” a warrior in steel corselet, holds aloft, in his left hand, ; 
a severed head; the other grasps a naked sword; in the back- q 


ground fleeing figures. 


(b) “Fingal,” an armed youth, helmeted, with shield and spear, — 


wearing a kilt and plaid, stands beside a seated grey-haired man, 


cloaked, and holding a spear in his left hand; a hilly landscape ~ 


in the rear. 

(c) “Oma-morna,” a maiden grasps the hand of an armed man, while 
another in armor stands behind her holding a spear in his right 
hand; in the distance, a wood and hills. 

(d) “Temora,” an ancient, clothed in plaid and kilt, addresses a 
young man wearing a ’breast-plate holding a spear in his right 
hand; in the background, a figure prone on the earth. 

(e) “Carric-thura,” a standing figure in armor, kilted and plaided, 
wearing a crowned and plumed helmet, brandishes a sword and 
buckler; while in the riven clouds appears a flying form aiming a 
spear at him; in the distance, trees and hills. 

All five of these drawings are surrounded by decorative borders, with 

quotations enclosed in panels beneath. Stothard’s Illustrations to 

“QOssian”’ were made in 1779. It is claimed that he “‘illustrated almost 


the whole range of English Literature with a taste that seldom failed — 


30 


91 


and sympathy that was often remarkable.”’ Nor did his talent stop at 
illustration, for he also designed the Monument to David Garrick, 
in Westminster Abbey, and exhibited his versatility by creating the 
decorations for the Throne Room, Staircase and Dining Room at 
Buckingham Palace, besides much artistic work in silver, of which the 
“Wellington Shield” is a striking example. H. 6; W. 4 (each) 


Wash. India ink. 


SIR JOHN FALSTAFF IN WINDSOR FOREST 


A quaint drawing full of humorous badinage, depicting the unwieldy 
blusterer armed with targe and broken sword, keeping vigil in the 


_ haunted glades of Old Windsor Forest. A fine piece of work, the 
“+ treatment of line being especially good and the characterization of 


92 


the figure excellent. H. 444; W. 4% 


Pen and ink. 


Charles Turner, A.R.A. 
Woodstock, Oxon 1774. London 1857 


SCENE ABOARD A MAN O’ WAR 


An extremely interesting sketch of the deck of a war vessel evidently 


_ cleared for action, the gun crews at their stations, the commanding 


7 


officer in stiff high collar and stock, telescope under arm, speaking- 
trumpet in hand and hanger at side, alertly issuing orders; while at 
the bulwarks are two others on the lookout. In the distance, below 
the bellying mainsail, are visible seven other craft, possibly in convoy. 
Though unfinished, it is instructive to note the various details, now 
obsolete, that existed on board the ships of an earlier date; the shot 
ranged in order on the hatchway, the quaint glazed high hats of the 
crew, from which the officers are distinguished by a cockade; the 


/vheterogeneous garb of the sailors and the hammocks stowed away in 
their nettings acting as a rampart to the men serving the guns. 


Charles Turner was best known as an engraver, and when Joseph 
M. W. Turner projected his “Liber Studiorum” he entrusted the work 
to this artist, by whom the first twenty plates were engraved and 


published between the years of 1807-1809. A quarrel arose about this. 


_ time, but subsequently three more plates were executed by Charles 


93 


Turner, also several for “The Rivers of England.”’ 

Some good original portraits were engraved by Charles Turner from 

his own drawings, including, among others, those of Joseph M. W. 

Turner, Michael Faraday, and “Gentleman” Jackson, the pugilist. 
H. 8335; W. 11% 

Water color over lead pencil drawing. Signed in initials at centre base, 

C. T., and squared for enlargement. 


Joseph Mallord William Turner, R.A. 


BEN ARTHUR, SCOTLAND 
This drawing is the original for the plate described as ‘“‘Ben Arthur, 


6 _ scotland.” London published, January 1, 1819, by J. M. W. Turner, 


Esq., R.A.P.P. Engraved by T. Lupton; and is found in L. S. 12, 
Plate LXIX, being evidently Turner’s drawing made for the guidance 


31 


94 


of T. _ Lupton, who engraved four of the plates for the ‘‘Liber Studio- : 


rum.’ 


Ruskin places this etching among the four finest of the series. He 
praises the drawing of the rocks in the foreground (Modern Painters, — 
Vol. IV, page 315), and ‘“‘the indication of the springing of the wild 
stems out of the rents in the boulders.”’ Rawlinson, in “A Description — 
and a Catalogue of Turner’s Liber Studiorum,” thus describes Turner’s _ 
methods: “‘When he worked on paper the broad washes were first — 
given and the pen markings added at the last.’’ This coincides with — 
the execution of this drawing, being in general a reversal of the usual — 
system of most artists. He further states that “The plates for which 
no drawings are known are chiefly those engraved throughout by 
Turner himself and for many of these probably no sepia drawings © 
were made,”’ Introduction, page 8. He also says, “‘I have been able to” 
obtain no information of any drawing for this plate,” page 138, and 
on the same page gives an eloquent description of it in these words, — 
“A ravine between hills which sweep down in large curves on either — 
side; at its head it widens and is shut in by mountains in deep shadow - 
from dark thunder-clouds overhead on the right. A brook flows down — 
the ravine and is hidden by boulders in the foreground. Light clouds — 


on the left, some of which rest on the summits of the hills.”’ 


Rowlinson, moreover, writes: ‘This is the last great plate of the , 
published portion of the ‘Liber’ and I think it is not too much to say 
that, were all Turner’s other works lost, upon the strength of it alone © 


his pre-eminent fame as a landscape draughtsman might safely rest.” 


This is one of the fourteen missing drawings quoted in the catalogue | 
of the Exhibition of Turner’s “Liber Studiorum,” held at the Burling- 
ton Fine Arts Club in 1872, the others being all accounted for. Most 


of the originals are in the National Gallery, one is in the British 


Museum and a few others are in private hands. 


Careful comparison of this drawing with the reproduction of the etched _| 
outlines shown in No. 27 of Mr. Charles Eliot Norton’s “Fac-simile of — | 
thirty-three etchings by Turner for the Plates of the Liber Studiorum,” 


and with proof copies of the finished mezzotint, show distinct though 
slight variations in the cloud treatment, in details of the rock forms 


in the foreground and in the bed of the stream, also, more particu- | 


larly, in the tree stumps as well as places in the mountain tops. 


This interesting and rare example was acquired by the present owner — 


in this country and it is possible that it lay so long lost and unrecog- 


nized owing to the majority of Turner’s originals for the “Liber” — 
having been drawn in sepia; Rawlinson, however, mentions that some — 


of Turner’s drawings were “‘sold to an American purchaser.” 


H. 73; W. 1075 @ 
Pen and ink outline, stumped in with charcoal, lights erased, on blue- — 


he RF Ne [SEE ILLUSTRATION] 
A PICTURESQUE ITALIAN VIEW 


A poetical rendering of aerial effect, brilliant in color, a vibrant . 


quality of atmospherical definition permeating the entire picture. 
From the grotto-like entrance overhung by a huge rock, with others 


piled at the left, over the pellucid waters whereon an empty gondola | 


lies, is seen a marble palace rising on the further shore. At the right, 


a stately figure stands alone, framed in a trellised arch near a doorway ~ 


32 


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[NUMBER NINETY-SIX| 


J. M. W. TURNER 


hewn in the massive stone. Asa demonstration of the peculiar proper- 
____ ties of light traversing the air, it is exceptionally fine and this appears 
to have been the primary achievement to which the artist aspired. 

Water color. : H. 434; W. 74 


; 
95 CAERNARVON CASTLE ? 
A singularly clear and beautifully painted water color, displaying fine 
aerial perspective and an atmospheric quality delicate in tone and 
extremely harmonious in unity of purpose, peculiarly fascinating in its 
comprehensiveness of view and natural effect. The representation of 
soft light pervading the atmosphere and mellowing the local color, 
transmits a sense of decorum to the judicious eye, which the skillful 
ranging of the demi-tints in the foliage serves to emphasize. On the 
summit of a high bank rising from the pellucid waters at its base, 
__ stands the scarcily defined Castle, behind which rises a distant moun- 
4) “tain; the banks of the stream are clothed in arboreal masses whose 
reflections and shadows color its waters, the arrangement and treat- 
_ ment of the trees being in Turner’s earlier manner. A feeling of calm 
and peaceful sentiment radiates from this chaste and simple concep- 
tion. | ‘HL 614; W. 9% 
_ Water color. On the reverse is an unfinished variation of the same land- 
scape. From the Lane Collection. 


96 AMERSHAM, BUCKS | 
A earefully-detailed drawing in pencil of the main street in the quaint 
/ _“old town of Amersham, Bucks, drawn with extreme precision, 
/ delightfully balanced in composition and manifestly picturesque. An 
“unusually good example of this medium in Turner’s earlier manner. 
Lead pencil. | H. 514; W. 834 
{SEE ILLUSTRATION] 


97 FISHING BOATS OFF THE MOUTH OF THE THAMES 


A spirited drawing, full of movement and action. A rising breeze 
drives the overcharged clouds across a rainy sky, filling the straining 
sails of the fishing smacks as they round the wave-worn pier of the 
little hamlet, whose roofs and peaceful church spire are silhouetted 
against the distant haze, and lifting the tossing rowboats on the crests 

_of the swells. Beyond the sailboats lies a dismantled hulk and further 

A) “off on the horizon various other craft are discernible. The whole 
scene is moist with the driving wet wind; the expression of mysterious 
light and atmospheric motion being most effective. H. 514; W. 734 


Wash. India ink. 


98 CHRIST CHURCH, HAMPSHIRE 


An admirably executed sketch of. an ancient church of late Gothic 
period; the architectural details and ornament carefully delineated. 
The square tower with its lancet windows and crenelated top gives 
, dignity to the structure, while at the more embellished eastern end 
( “the delicate traceries of the diamond-paned lights are indicated with 
simple directness and truth, making of this drawing a veritable record 
of antiquarian value. H. 77%; W. 103% 


Lead pencil, lightly shadowed with sepia wash. 
33 


99 ST. ALBANS ABBEY _ 


\ 


A 
wes 


100 THE WATERSIDE AT MILBANK 


101 


102 


ey heme a 


An interesting view of one of England’s most ancient ecclesiastics al 
edifices, drawn with considerable freedom and a fine sense of pe 
tive, defining with fidelity the simple, yet adequate, solidity of fora ™m 
of this historical structure, famed as the place of interment of some of 
the early British monarchs. H. 414; W. TY 


Lead pencil and sepia wash. 


William Turner, of Oxford 
Blackbourton, Oxon 1789. Woodstock 1862 


A broadly handled study of the waterside at Milbank, orate and 
effectively sketched, exhibiting ease and freedom both in soe 
and tonal values. This artist, known as Turner of Oxford, to dis 
tinguish him from his greater namesake, studied under Varley, from m 
whose window this sketch was made. His later life was passed in the 
vicinity of Oxford, painting many of its streets and suburbs. 4 
‘ H..7 2%; W. 10% 
Water color. On the reverse is a lengthy inscription comparing Turner’ 
work favorably with Varley’s. From the Lane Collection. 


John Varley 
Hackney 1778. London 1842 


A COUNTRY LANE 


An effective, though rapidly sketched, rural scene with a country 
road curving past a cottage on the right. On the opposite side are two 
donkeys, one standing and the other lying down in the shadow of a 
spreading tree, with a leafy copse forming a background. 
Varley was one of the coterie of young artists who worked under Dr 
Monro’s auspices and has been acclaimed as one of the Fathers of 
English water color painting. He was considered an extremely effi- 
cient teacher, several of his pupils becoming eminent in art. In 1830 
he published ‘‘Observations on Coloring and Sketching From Nature,” 
and was also the author of “A Practical Treatise on Perspective.” He 
was an intimate of William Blake, who drew for him his well-known 
“Ghost of a Flea,’”’ which Varley engraved in outline. Like Blake, 
Varley was a visionary, but his leanings were towards astrology, his 
claims to occultism being accepted by many of his acquaintances. — 
These chimerical ideas differed from Blake’s. set a as Boe never 
appear to have influenced his art. TM; W.9% 


Water color. 


: ‘ i a, Dan tet Bs: 


VIEW FROM MY WINDOW 
A sketch of the buildings overlooking the rear of Varley’s house af 
Milbank, laid in with flat tones of local color, which by their simplicity — 
produce a characteristic interest in an ordinarily commonplace theme. _ 

H. 8; W. 10 4s : 
Water color, on light grey paper. From the Lane Collection. | 


34 


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| Sir Benjamin West, P.R.A. 
‘oa Swarthmore, Delaware Co., Pennsylvania 1738. London 1820 


| 108 ALLEGORICAL WINGED FIGURE 


A draped figure with extended wings and the right arm elevated, 
clothed in flowing drapery, surrounded by clouds; instinct with action 
and indicating unusual facility of execution. 
_ This artist, starting from the most unpropitious beginnings, after 
____ several years of study in Italy took up painting in England, where, 
___ having executed some portraits and historical scenes, he received a 
commission to paint “The Death of General Wolfe.” It is hard to 
realize in these days of realism that this picture was revolutionary toa 
degree, for it was the first in which a modern battle was represented 
in other than classical costume. West insisted that “the same truth 
« _ ante gives law to the historian should rule the painter.”’ Reynolds 
\ ~ backed him in this decision and the result was a triumph. West was 
the acknowledged founder of historical painting in England and on 
the death of Sir Joshua Reynolds, the first President of the Royal 
_ Academy, West was elected his successor. H. 1034; W. 734 


ga heightened with white oil color. 
[SEE ILLUSTRATION] 


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= 


Francis Wheatley, R.A. 
London 1747-1801 


104 CUPID UNVEILING VENUS 


A nude female figure, reclining at full length, the lower portion 
of the body turned toward the spectator, while a winged Cupid 
lightly lifts the scant transparent draperies which emphasize rather 
; conceal the form. To the right, a curtain draped from a branch 
» ekgrounds the figures, beyond it, between the trees, distant moun- 
y tains rise from the tranquil waters of a lake. 
_ Wheatley foolishly lowered his capabilities to that mere prettiness of 
le prevalent when stipple engraving flourished, and in company 
with Angelica Kauffmann, Cipriani, Lady Diana Beauclerk and others 
of that ilk pandered to the popular taste, though his work exhibited 
cient merit to have freed him from such association. His ‘Cries 
of London” are justly celebrated for their pictorial quality, and while 
in Dublin his painting of the Irish House of Commons added to his 
reputation. In illustration he was extremely successful, some good 
examples being found in Macklin’s ‘Poets’ Gallery,” likewise in 
Boydell’s “Shakspere,’”’ to which publication he contributed no less 
than twelve pictures. 
This drawing, the joint work of Richard Cosway, R.A. (to whom the 
composition is credited), and Wheatley, whose painting it is, was 
engraved in stipple by A. Cardon and published in color by R. 
Ackerman, dated May 15, 1800. In the print several slight variations 
from the original are noticeable, such as the elevation of the right arm 
and hand; the introduction of a leafy flowering plant below Venus’ 
foot and tall flowers and leaves at the right lower corner; the raising 
of the entire picture from below; the addition to the earthy bank 
between the tree trunks in the background (which is suggested in the 


35 


105 


- dity of his imagination, and perception of character, that he might 


106 COMMERCE 


original by a faint wash) and the commuted coloring of the flowers 
behind the figure, as also the ribbon in Venus’ hair and the cord from _ 
which Cupid’s quiver is suspended. The tint of the curtain draperies 
also is altered to a harmonious brown tone, materially i improving the 7 
consonance of the composition. 


Water color. - Ee ay 10 | 


George Moutard Woodward 
Stanton Hall, Derbyshire 1760. London 1809 


A JESSAMY 


A subtly humorous drawing, brushed in flat tones, of a standing figure 
in eighteenth century costume, one hand in the capacious vest pockets 
then worn, the other lightly handling a cane. Beneath in Wood- 
ward’s writing, ‘““Among the simple ones, I discovered a young man 
void of understanding. Proverbs, Chap. 7th, verse 7th.” , 
Woodward’s life ended in a state of destitution at a Pot-house in 
Bow street. Grego, Vol. I, p. 81, says: “Had this low humorist 
studied drawing and been temperate in his habits, such was the fecun- 


have rivaled even Hogarth.”’ 
Captioned as “Addendum to the chronological summary of Rowland- 
son’s caricatures,” Grego, Vol. II, p. 407, under date of December 1, 
1790, among those listed as “A series of simple figure subjects, 
designed by Woodward and engraved by Rowlandson.” The second © 
example is entitled “A Jessamy.’ H. 1414; W. 93% 
Water color, outlined in India ink. On the reverse in the same hand a 

shrewd satire on the Fops of his day, fully applicable to modern times. 
Signed, in lower left-hand corner, G. M. Woodward, Delin. | 


Antonio Pietro Lucchi, A.R.A. 
Venice 1726. Rome 1795 


A seated female figure in classic costume supporting her head on her 
left arm which rests on the rudder of a Greek vessel; beneath the prow, 
on the ground, is a chart and compass. A well-arranged composition, — 
freely rendered, evidently intended to serve as design for an ornamen- 
i: decoration, ‘applied in relief or painted in monochrome to me 
ate it. & 
Lucchi’s earliest productions were historical pictures in oils, but he 
subsequently devoted himself to landscape and decorative work. In~ 

1754 he accompanied Robert Adam, the architect, in his travels i 
through Italy and some of his drawings were engraved in Adam’ e | 
“Ruins of the Palace of Diocletian’ (1764). In 1776 Lucchi was invited © 
to England by Adam, who employed him on the interior decorations | 
of many of the great mansions he erected or altered, including Luton — 
House, Syon House, Osterley, Caen Wood and the Adelphi, London. | 
In this work he was assisted by Angelica Kauflman, ue later became 
his wife. 834; W. 8 1 

Wash. Sepia, heightened with white. | 


36 | 


—— 
- 


Z 
107 TRADE 
A seated male figure in classic costume holding in the left hand a 
money bag, resting amidst bales of goods and rolls of materials; a 
sheaf of wheat being shown behind. ,.This drawing is the companion 
| l piece to the previous item. H. 814; W. 73% 
ip ~ Wash. Sepia, heightened with white. 


DUTCH SCHOOL 


NUMBERS 108-170 


Theodore Bernard alias Dirck Barentzen or Barentz 
Amsterdam 1534-1592 


1108 DELEGATES FROM A VANQUISHED CITY pleading for lenity 
from the victor. 


An admirably conceived drawing with the grouping artistically 
_{__- balanced, showing, to the left, two figures in suppliant attitude before 
“~~ _aroyal personage attended by pages and men-at-arms; to the right, 
| mounted soldiery scour the streets of a city, whose colonnades, forti- 
fications and tall towers are visible in the background. 
This artist, reputed in his time to be the ablest of his country, studied 
in Venice and was a favorite pupil of Titian, under whose tuition he 
spent seven years. Returning afterwards to his native land, he 
- achieved great success as a portrait painter. He also executed for the 
Great Church at Amsterdam an altar-piece, representing the Fall of 
Lucifer, subsequently destroyed in the religious troubles under the 
Spanish domination. H. 654; W. 9% 
Pen and ink outline, washed with sepia. Signed, lower left-hand corner, 
Theodor Bernard. Watermark, The Crosse or Crozier of Basle, within 
a crowned shield. 


Abraham Bloemart 
Gorkum 1565. Utrecht 1658 


| 109 ST. JAMES INVOKING PROTECTION FOR A PATRONESS 


A splendid drawing, replete with religious feeling, representing the 
| Saint wearing a capacious cloak, seated in the midst of clouds with a 
| guardian hand on the shoulder of a kneeling penitent, clothed in a 
* wide ermine-collared garment, one hand raised in inspiration, a 
radiant nimbus surrounding his head, while a blaze of glory illuminates 
both figures. At the right is seen an attendant winged cherub, bearing 
the Pilgrim’s staff, which emblem is also shown crossed, with the 
palmer’s scallop shells in between, on the collar of the Saint’s outer 
garb. Underneath is a suggestion of a rocky castle-crowned eminence 
rising out of the surrounding landscape. 
This original was probably drawn with a view to execution in “Chiar- 
oscuro” engraving, which branch of art Bloemart practiced with 
considerable success, differing from the Italians by etching the key 
plate on copper in lieu of using a wood-block. H. 1054; W. 714 
Pen and wash. Sepia, heightened with white on light brown tinted paper. 
Watermark, Crossed Keys. 


37 


110 


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/ eae 


Gerard Ter Borch 
Zwolle 1617. Deventer 1681 


MAN IN XVII CENTURY COSTUME 


A distinctive study of a seated male figure drawn in a spirited man-— 
ner, indicating all the traits of a model oft repeated in Ter Borch’s 
paintings. Gerard Ter Borch, who studied under Pieter Molyn, | 
visited England and Italy, returning to Amsterdam in 1641. His 
painting of small-sized portraits, with most lifelike feeling, attracted 
considerable attention. From Amsterdam he travelled to Munster; 
the Spanish Ambassador, becoming his patron, induced him at the 
conclusion of peace to journey to Spain, where he was received m 
hospitably by Phillip the Fourth, who later conferred upon him a 
patent of nobility. 

It is interesting to note that these transfers are not uncommon. In 
the Vasari Society’s “Reproductions” are two, in the possession of 
Charles Ricketts, Esq., transferred in the same manner from drawings 
by Watteau. There will also be found another by Boucher, in the 
present collection. They were possibly pulled to be of assistance to. 
the engraver, being in reverse, as the bee on the plate itself would 

appear. H. 6%; W. 5% irregularly 3 


Transfer from a brush drawing, touched with chalk (Sepia). 


Jan de Bosch 
Amsterdam 1718-1785 


SCENE FROM DANTE’S “PURGATORIO” 


A carefully finished drawing of a rocky landscape, the trees in thel 
foreground well detailed; to the left, two upright figures in conversa- 
tion and two others in the middle distance, backgrounded by a range > 


of hills at the foot of which is seen a flat roofed paste | and on the 
right a well-wooded eminence. H. 134%; W. 20% 


Wash. India ink on buff-tinted paper. Signed on reverse, J. de Bosch, 


fecit. From Henrice Hamal, Henry Money and Dr. F. G. Martin | 


Collections. 


112 SCENE FROM DANTE’S “PURGATORIO” 


A wooded landscape with rocks and hills; a seated figure beside a 
fallen tree trunk, at the left, a stream cascading over the boulders, 
two standing figures in the middle ground, behind them at the base 
of the distant rise is an aqueduct on arches with towers, and to the 
right a rugged slope in front of which are the sturdy trunks of the 


a | 


spreading trees. This drawing is the companion piece of the preceding - 
one. H. 1814; W. 20 


Wash. India ink on buff-tinted paper. Signed and dated on reverse, 
J. de Bosch, fecit 1714. From Henrici Hamal, Henry Money and Dr. 
F. G. Martin Collections. 


38 


: 


Pieter Breughel the Elder 
Breughel near Breda 1520. Brussels 1569 


3 ITALIAN LANDSCAPE WITH BUILDINGS 


7 


a.) A facile drawing of a rocky, tree-clad eminence surmounted by a 
ch’ 7 _ turreted and fortified castle. Below in the valley, to the left, is another 
ue _ group of edifices with a tower rising therefrom overshadowed by 
i i 4 “massive rocks; at the right stands a thatched building adjacent to a 
tai) ruined arch surrounded by trees. 


I () Pieter Breughel, the elder, surnamed “the Droll,” after studying in 
7 France and Italy, where the wild scenery of the Alps appealed to him, 


ity returned to Holland, painting principally genre subjects, such as 
hap sies, banditti, ‘peasants and rustic merrymakings, in which he was 
7 on y surpassed by Teniers. H. 5; W. 6% 
_  Penand ink. Sepia. Signed, lower right-hand corner, p. Breughel. 
tt ie . 
re 7 , Jacobus Buys 
p 


Amsterdam 1724-1801 
i jis FEMALE FIGURE IN CLASSIC COSTUME 


_A charming drawing, delicately colored, of a female figure seated on a 
rock beneath a tree, bidding adieu to a man habited in Roman costume 
holding a spear in his left hand, the other resting on the woman’s 
shoulder. Beside her is an attendant cupid holding two hounds in 
leash, the whole scene backgrounded by trees and foliage. The color- 
- ing and composition of this dainty picture are excellent, the tints 
being most harmonious and the drawing both correct and free. 
Buys, a pupil of Cornelius Pronk, Jacob de Wit and Cornelius Troost, 
was a painter of portraits and historical subjects, a designer of 
tapestry and theatrical decorations as well as a draughtsman of 
vignettes for illustration, ultimately becoming Director of Drawing 
at the Academy of Amsterdam. H. 5%; W. 4 


Waiter color, outlined in pen and ink. Sepia. From the Lane Collection. 


THE MESSENGER OF LOVE 


A seated, semi-draped classic female, holding in her right hand a sickle, 
listening to an old woman, who is leaning on a crutch-handled staff. 
Above her is seen a cupid carrying a bow and arrow, preparing to 
discharge his dart. Outlined against the sky are the tree tops, at 
the base of which sits the principal figure with gathered fruits beside 
her. This drawing is the companion piece to the preceding one. 

. 514; W. 4 
tg Water color, outlined in pen and ink. Sepia. From the Tae Collection. 


Jacob Cats 
Altona 1741. Amsterdam 1799 


” 116 PASTORAL SCENE 


A particularly fine example of this artist’s draughtsmanship; drawn 
i with an uncommon delicacy of feeling and sentiment; fully as fine 
. fe as any production of Nicolas Berchem’s. The beauty of the sky and 

the natural grouping of the animals are remarkable; the details, with- 
rl out being meticulous, show in this picture to a greater extent than 
| in any other of his creations. 


| } 39 
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117 A RIVERSIDE VIEW 


118 SAINT HUBERT AND THE STAG 


119 A RIVER FETE 


of flag-bedecked fishing boats whose numbers stretch away into the far © 


Jacob Cats, an excellent draughtsman, who also painted and etched, | 

was justly celebrated for his landscapes with animal accessories, his — 
works being original and marked by a poetical rendering of nature. 

] i 

; 

Wash. India ink. Signed and dated, on reverse, J. Cats, inv. et fee. | 

1799. 


A delightful drawing, carefully executed, showing a group of men fish 
ing in the shadow of a spreading tree. Across the limpid waters on the 
river’s bank stands a windmill amid verdure, reflected in the stream, 
while further off the spire and roofs of a distant village are glimpsed; 
on the right, above the unseen roadway on a rising slope are visible 
the tower of an old church and part of a cottage. This little picture is” 
permeated with the poetic quality of stillness and PEDO 7 


Wash. India ink. H. 344; W. 67% | 


Aert Claessoon (Aertgen de Voller) 
Leyden 1498-1564 


Saint Hubert, in slashed doublet and trunk hose, wearing a feathered 
cap, is kneeling with hands joined in prayer, before a stag, miracu- 
lously bearing a crucifix between his antlers, which is standing upon a 
rocky ledge beneath a shady tree. At the left, is a horse leisurely 
cropping the herbage; further on are two dogs, one running, and in ~ 
the background a wide landscape with a building at the side; on the 9 
right, another hound, half crouching as in fear, looks up at the super- 4 
natural vision. H. 5384; W. 944 


Pen and ink. Sepia. Watermark, a dwarf over the letters A. C. 


Albert Cuyp 
Dordrecht 1620-1691 


An unusually good drawing, full of atmospheric quality, depicting a 
ceremonial twelve-oared barge passing between the drawn-up rankall 


horizon. On the right, the roof and dome of a cathedral loom over 
all. This drawing apparently represents a solemn function, such as the © 
Annual Blessing of the Fishing Boats, and though small in size | 
possesses such correctness of design and comprehensive view as to 
produce a satisfying effect of distance combined with a subtle ordon- 
nance of the animated ensemble. 
Few artists’ work has been more admired than Cuyp’s. He was 
exceptionally versatile and perhaps no artist ever surpassed him in the _ 
purity of his aerial tints, while in harmony of color, he seemed incapa- 
ble of a discordant tone; in fact, he may be termed the most universal 
painter of the fertile school to which he belongs. Such rare genius 
makes even a drawing like this radiant with a sense of color. : 
H. 444; W.6% | 
Pen and ink. Sepia. Signed, lower left-hand corner, Cuyp inv. 


40 


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120 


122 


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128 


124 


4 Abraham Diepenbeck 
, Herzogenbusch 1607. Antwerp 1675 
THE SEAT AND POSTURE OF THE MANEGE 


A mounted cavalier, booted and spurred, exemplifying the correct 
osition of a rider on a horse. This is one of the original drawings by 
iepenbeck, made while in England to illustrate the Duke of New- 


_-~castle’s book on ‘‘Horsemanship.”’ 
4 — Diepenbeck’s first essays in art were as a painter on glass and many 


of the finest windows in the churches of Antwerp are his productions; 
this work he gave up, entering the studio of Rubens, afterwards 
travelling in Italy and eventually passing over to England, where his 
painting was much esteemed. At this period his principal works were 


historical and religious subjects; later, however, he undertook illus- 


tration and was much employed in designs for the publications of 
his time. H. 84; W. 64% 
Wash. India ink. 


THE HORSE TAKING THE HALF VOLTE 


A cavalier on a horse in action, illustrating the taking of a half volte. 
This drawing is the companion piece of the preceding item. 
Wash. India ink. : H. 8144; W. 644 


SAINT MICHAEL OVERCOMING LUCIFER 
The Archangel, wings extended, holding in the right hand a flaming 
bolt, his left arm guarded by a shield, standing astride the prostrate 
and contorted form of the Fiend, around whose left arm a serpent 
is entwined. Obviously a design for a stained glass window. 

| | H. 9; W. 6% 
Black chalk and sepia wash. Watermark, a fleur-de-lys within a 
crowned escutcheon. 


Johannes Van Dreght 
Amsterdam 1737-1801 


DECORATIVE COMPOSITION 


A classical design of two nude female figures and an attendant cupid, 
drawn with grace and freedom; the quality of the modeled line being 
especially good, the accessories well detailed and arranged in har- 
monious relation to the principals. 
Dreght specialized in the designing and painting of ornamental 
grisailles and bas-reliefs, also in decorations for theatres. 

H. 1134; W. 1634 
Pen and ink. Sepia. Signed and dated, lower right-hand corner, 
Johannes Van Dreght, inv. et delineavit, 1779. 


Karel Du Jardin 
Amsterdam 1625. Venice 1678 
STUDY OF A BULL 


A well-drawn study of a young bull, facing to the right. Du Jardin 
was one of the ablest pupils of Nicolas Berchem; subsequently study- 
ing in Italy, he devoted himself on his return to Holland to landscape 


Al 


zy 


Aa 
a 
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vu 


painting, decorating his pictures with groups of cattle which compare ) oil ;j 
favorably with those of Paul Potter. Later he lived and Ron in Italy, — 


where his work was held in much esteem. ; W.6 
Red chalk. | 

Karel la Farge 

The Hague 1742-1785 


125 A COUNTRY ROAD 


A peaceful rural scene. The tile-roofed house on the left surmounted q 
by a vane in front of which stands a man smoking, while his dog — 
barks aimlessly, is balanced by the leafy trees, the group of wayfarers ~ 


and in the distance a winding road. At the right, is a meadow with 
cattle grazing, and beyond a suggestion of a far-off city. 


. 614; W. 814 a | 
Wash. Indiaink. Signed, lower right-hand corner, Karel la Farge, ft. 


Aerent de Gelder 
Dordrecht 1645-1727 


126 STUDY OF THE HEAD OF AN OLD MAN 


A powerful drawing, well handled and full of expression, showing an | 
old man with flowing beard, facing three-quarters to the left, eyes 


uplifted and the mouth partly open. Drawn with a vigorous and 
definite direction of stroke in an almost Italianate manner. 

De Gelder studied under Rembrandt, becoming one of the most 
successful imitators of that great colorist’s style. He painted por- 
traits and historical subjects and was most dexterous in portraiture, 


_ displaying such admirable feeling for light and shadow that some of ~ 


his productions have been attributed to his celebrated master. — 


954; W.7% 


Red chalk. Signed, lower right-hand corner, Aerent, f. 


Jan Griffier 
Amsterdam 1645. London 1718 


127 A RHINE VALLEY SCENE 


& 


A good example of landscape composition, depicting the winding river 
flowing between rising slopes on which stand turreted castles visible 


above the surrounding trees. To the left, in the middle distance, q 


stands a noble pile of castellated buildings foregrounded by a lofty 
tree, beneath which a group of travellers are preparing to embark on 


the stream; to-the right is seen another band of wayfarers, accom- 


panied by a mule carrying a woman and child and driving a couple of 
sheep; in the background rocky heights raise their stately summits to 
the clouds. Griffier affected Ruysdael’s style, producing many excellent 
landscapes and views of the Rhine. Settling in England in 1668, he 
met with great encourpemneys and painted many river scenes on the 
Thames. — H. 734; W. 94% 


Wash. India ink. On the reverse is another faintly outlined Rhine view. 
42 


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LUCAS VAN LEYDEN 


29 


NUMBER 1 


[ 


f Jan Hackaert 
Amsterdam 1635-1699 
“198 A CLASSICAL LANDSCAPE 
; A well-designed classic landscape, rendered with unity of purpose and 
technical efficiency. 
Hackaert, one of the ablest landscape painters of the Dutch school, 
excelled in picturesque rendition of sunlight piercing through rocks 
~ and foliage. The figures and cattle introduced in his pictures were 
executed by his intimate friend, Adrian Van de Velde. 
Fe H. 54; W. 7% 
FE Pen and ink outline, wash. Sepia. Signed, upper left-hand corner, J. 
\¢ Hackaert and initialed in the lower, J. H. 


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| 


Lucas van Leyden 
Leyden 1494-1533 
129 THE JUDGMENT OF SOLOMON 


A magnificent example of this great master’s work, rarely found in this 
size and in such superb condition, representing King Solomon seated 
in the center of the picture on a richly ornamented carven throne, 
| oe which stands on a circular-fronted dais, beneath a decorated canopy 
~ © “with pendent fringe and tassels. In the foreground, to the left, in 
EB prayerful attitude, onemotherappealingly holds out her hands, while on 
E the opposite side is the standing figure of the other; near the kneeling 
- woman is a soldier holding at his side a naked infant and drawing his 
sword from its seabbard. In the middle of the lowest step lies the dead 
disputed child. Flanking the seat of state are groups of courtiers, in 
various poses expressive of debate, habited in carefully detailed con- 
temporaneous costumes, which impart to this drawing archeological 
value, the whole being backgrounded by well-arranged architectural 
accessories. 
There exists no print made of this subject by the artist, though an 
eighteenth century catalogue refers to a drawing of the same subject in 
the collection of the Archduke Charles in Vienna. It must, therefore, 
i be concluded from its shape and treatment to have been a design for 
| a painted glass panel, Lucas having practiced this art considerably. 
Lucas van Leyden displayed unusual precocity, which his father, an 
artist also, carefully nurtured, placing him as a pupil with Cornelius 
Engelbrechtstein. At twelve he astonished the artists of his time by 
the excellence of his picture of Saint Hubert. He worked in oil, 
distemper and on glass, achieving equal success with historical sub- 
jects, landscape and portraiture, his paintings exhibiting freshness and 
- clarity of tone, his drawings delicacy and finish, his engravings neat- 
ness and clearness and his wood-cuts a spirited ‘mastery. 
For many years an intimate friendship and correspondence existed 
with Albert Durer, arousing a noble spirit of emulation in the efforts 
of both of these great artists, though a certain Gothic mannerism per- 
meating Lucas’ work may be attributed to the predominant taste of 
his country. H. 15; W. 114% 
Pen and ink outline, wash. Sepia. India ink. Signed at central lower 
base, L. Watermark, a crowned eagle display within an oval escutch- 
eon. 


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[SEE ILLUSTRATION] 
43 


180 THE MILKMAID 

Bartsch, Vol. VII, p. 422, under caption of No. 158, La Laitiere, chug 
describes, i in the translation that follows, the engraving of which this _ 
drawing is the original: 

“A country maid holding her hat in the left hand and carrying a pail 
in the other appears advancing on the right to milk a cow standing 
across the centre of the engraving, its head towards the left, where a 
peasant is restraining it by a rope attached to the horns. Two more | 


left, a tablet with the letter L and the date 1510 is in the centre of the — 


| cows are seen in the background, one to the right, the other at the 
0 ra 


‘, 
SG * 


base. This example is very rare and there are few specimens of — 


Lucas’ work which are as well drawn as this. Most admirable is the 
figure of the milkmaid, whose attitude expresses so well the effect of 
the weight she is carrying.’”’ The variations from the drawing are 
noticeable, the plate being so much smaller, necessitated abbreviation — 
on all four sides, consequently, at the left a tree trunk is eliminated, 
the barn brought closer in to the male figure, the irregular thatched 


roof shown straight and lowered. The man is more erect, as also the 


tree behind him, the forking of its branches being slightly altered. 
On the right side a tree trunk is taken out and the contour of the 
maid’s hat becomes more regular, while the stakes supporting the 
fence rail are more erect and one shows fewer branches. In the fore- 


ground, the bank with its solitary plant disappears entirely and the 


loose stones scattered about are additions. 

It is interesting to note, as a proof of authenticity, the fact that the 
building in the engraving is brought forward; a cone enlarging 
would extend the same outward from its original lines. H.744; W.9% 


Pen and ink. Sepia. 


Willem Van Mieris 
Leyden 1662-1747 
131 PORTRAIT OF MARGARETA BAS, SENIORI THEODORI 
A half-length female figure, nearly full-face, the body turned slightly — 
to the left, holding a fan in the right hand, the other resting lightly on — 


“the wrist. Exquisitely painted with all the picturesque delicacy of a 


miniature, the rendering of the lawn cuffs and collar and of the hands — 
is exceptional. This and the succeeding six numbers are remarkable © 
specimens of dexterity and finish, essentially lifelike in representa- — 
tion, achieving a fidelity to detail typical of the best work of the 
Dutch school. 

Mieris studied under his father and his productions exhibit much of © 


his master’s style and quality in his rendering of genre subjects, inte- 


riors and portraits. H. 1244; W. 934 © 


Wash. India ink. Cartouche in plumbago, on vellum. 
[SEE ILLUSTRATION] 


182 PORTRAIT OF MARGARETA BAS, JUNIOR THEODORI 


A half-length female figure, nearly full-face, holding in the right hand © 


Lo ~ a fan, the other resting on a chairback, surrounded by a decorative ~ 


cartouche. eis portrait is that of the daughter of the preceding — 
number. H. 1214; W. 93% © 


Wash. India aE: Cartouche in plumbago, on vellum. Signed, lower | | 


right-hand corner, Willem Van Mieris. 
44 


entre SRT 


E WILLEM VAN MIERIS 
i [NUMBER 131] 


—— 


mS I nee renter 


3 : PORTRAIT OF PETRONELLA KERCKRINCK, GOTSARDI 


_A half-length female figure, facing to the left, holding a fan in the 
left hand aes by the other. H. = goonies W. 9% 


134 PORTRAIT OF WILHELMUS KERCKRINCK, GOTSARDI 

bd A half-length male figure, facing to the right, wearing a voluminous 
. cloak, a broad linen collar and a skullcap, one hand on his breast, the 
ft fo- other. resting on a balustrade, holding a pair of aokes 
. H. 124; W. 914 
Wash. India ink. Cartouche in plumbago, on vellum. Signed, lower 
___ right-hand corner, Willem Van Mieris. This portrait is the companion 
_—-— prece to the preceding number. 


| +185 PORTRAIT OF CLARA HUNTHUMS, ARNOLDI 


a) A half-length female figure facing to the left, Betne in ue left hand 
4 ~ a fan, the other resting on her hip. 124; W. 9% 


Wash. India ink. Cartouche in plumbago, on oe Signed, lower 
_ right-hand corner, Willem Van Mreris. 


~ 186 PORTRAIT OF WILHELMUS VAN LOON, JOANNIS 

Bust es of a bearded man in a ruff, facing three-quarters to 
Be the right H. 12;4% W.9% 
Wash. Teabn ink. Cartouche in plumbago, on vellum. Signed, lower 
right-hand corner, Willem Van Mieris. 


_ 187 PORTRAIT OF CORNELIA HESSELS, JUSTI 

A half-length female figure facing to the left, the right hand extended 
ae on the back of a chair, the other grasping a ‘fold of the skirt. 

Wash. India ink. Cartouche in plumbago, on vellum. Signed, lower 
__- right-hand corner, Willem Van Mreris. H. 12%; W.9% 


(28? Aert van der Neer 
Amsterdam 1619-1683 
| 1388 AT THE FERRY 


A moonlight scene on the bank of a river, with five Pee ices awaiting 

| transportation; behind them on the left, a man seated on a horse 

| by towing a barge. A cloaked form in the centre hailing for the ferryman; 

i) - at the right are two officers in uniform, one with his hands in a muff, 

and on the opposite side a woman leaning on a stick talking to a male 
companion. In the background, trees and a cloudy sky, the unseen 
moon diffusing a soft light. 

. Van der Neer excelled in painting views in Holland by moonlight, 
representing banks of rivers or canals with boats and figures, with a 
perfect mastery of the chiaroscuro and picturesque effect, as well as 
winter pieces with persons amusing themselves on the ice, much in the 
style of Albert Cuyp. H. 844; W. 6% 

. Water color, on blue-grey paper. Watermark, a seated female figure 

| carrying a halberd. 

I 


45 


ms 


J 


189 A WOODED LANDSCAPE, seen through a natural arch. 


140 


142 


- Cornelis van Noorden 
Haarlem 17381-1795 . 


An arch on which are growing trees, spanning a roadway. Through gg 
the opening is visible a hilly landscape with woods advancing into the 

middle ground; in front of the arch is seen a shepherdess leading her 
flock; the whole surrounded by a decorative arrangement. ‘ 
Noorden practiced painting, drawing, engraving and wood-cut with 
equal efficiency and became Professor of Drawing at the Haarlem 
Academy. H. 934; W. 734 
Wash. India ink, outlined with sepia. Signed, right-hand corner of 
mounts, C. v. N oorden. Watermark, a fleur-de-lys. | 


Lambert van Noort 
Amersfort 1520. Antwerp 1571 


THE RESURRECTION OF CHRIST 


An admirably composed rendering of the Resurrection, in  whielle 
Christ, bearing a cross from which a banner floats, is seen surrounded ~ 
by clouds, i in which appear two cherubs. Below is seen the tomb and 
in front three Roman soldiers; one, in an attitude of defence, another, 
falling backward in surprise, while the third gazes in alarm; the © 
figures well drawn, the anatomy correct and the whole picture well 
balanced and executed with freedom. Van Noort was a pupil of” 
Francis Floris and practiced architecture as well as oe 
11144; W. 94% 
Pen and ink outline, washed in blue-grey tint. Signed, at left base, L.V. N. 
Watermark, a pitcher surmounted by a crown and flower. 4 
Collector’s mark, a coat of arms within an oval, unknown to Fagus P 
on reverse, lower left-hand corner. 


Adrian van Ostade 


THREE FIGURE SKETCHES, on one sheet. 


Three agricultural sketches; the central one representing a yoke of — 
oxen, led bya woman, drawing a harrow; on the left, a man sowing, and 
on the right, a man swinging a scythe. Cleverly drawn with simple — 
and characteristic treatment. > 
Adrian Van Ostade, a pupil of Franz Hals, painted admirably the © 
grotesque humor of the lower classes of Holland, infusing into his 
pictures so much lively and natural spirit combined with a rich, clear — 
and glowing coloring that the vulgarity of his subjects is forgotten { 
in the truth and finesse of his representations. H. 354; W. 5% © 
Two in pen and ink and one in black chalk. On the reverse is a slight © 
outline of a yoke of oxen facing front. | 


TWO MEN FISHING i 
An effective study of two fishermen, one standing in the stream wield- 
ing a long-handled ground net, and another, leaning over the side of a © 
boat, engaged in like occupation. Well drawn and expressive in | 
action. H. 314; W. 4,5 
Pen and ink. Sepia, lightly washed. Traced through on reverse. 

46 


” Paulus Pother 
Enkhuysen 1625. Amsterdam 1654 


| 148 CENTRAL GROUP FROM “THE YOUNG THIEF” 


A drawing of a milkmaid and cows, an arrangement utilized in the 
oe of “The Young Thief,” at present in Buckingham Palace, 
ndon, engraved as a separate subject by Pieter de Mare, the plate 


| showing, among other slight variations from the original sketch, 
)% —the elimination of the foreleg of the recumbent cow and the addition 
f of the sheep and fence. Paul Potter was the son of an artist, from 
whom he received his instruction; his principal works are cattle scenes 
in which the landscape is subordinated, the animals being rendered 
with great fidelity to nature. He excelled in brilliant sunshine effects 
and his pictures, though carefully finished, are usually broad in 
conception. H. 534; W. 954 
Black chalk. 


» 144 CATTLE RESTING 
£ A composition consisting of two cows and a horse with a sleeping 
ea herdsman and dog grouped on a rising ground; in the distance is a 
herd of cattle and beyond the suggestion of a town. Drawn in with 
_ great freedom of technique and simple modelling, evincing a sense of 
- great spaciousness. H. 113%; W. 18 
Pen and ink. Sepia. 


145 STUDY OF A COW 


A fine drawing of a cow facing to the right, well modelled, showing a 
| splendid handling of the shadows, combined with a natural poise and 
i good animal characterization. H. 534; W. 7% 
| Black chalk. 


Abraham Rademacher 
Amsterdam 1675-1735 


146 RIVER LANDSCAPE WITH A MILL 


View of the curving bank of a river from which rises a wooded slope; 
on the crest a windmill with outbuildings stands out against the sky. 
- Below, set among the copses, is a farmhouse with a long, slanting roof; 
i to the left, a vessel with spreading sails is seen rounding the bend of 
the stream; beyond it the distance stretches out illimitably. The 
drawing evinces facility of execution combined with a sense of atmos- 
pheric values. 
Rademacher’s reputation as a landscape artist was high and his work 
has been commemorated in a series of plates, engraved by him in 


3 masterly style from his own designs. H. 934; W. 14 
: Pen and ink outline in light brown, wash. India ink. 
47 


147 


Cs 


148 


149 


Jacob van Ruysdael 
Haarlem 1630-1682 


TREE BESIDE A STREAM 


An exquisite, picturesque drawing, delicate yet effective in the delinea- ~ 


tion of foliage and vague distance, admirably composed. The centre 
of the picture is filled by a delightfully drawn tree; a little behind is 
seen the roof of an embowered cottage; in the foreground, a narrow - 
foot-bridge spans a limpid brook, edged with low bushes and reeds, — 
while in the far background is a group of buildings visible beyond the — 


leafy growth at the right. The peace and charm, combined with ~ 


absolute truthfulness, is only equalled by the precision of touch. 
Jacob van Ruysdael, one of the greatest of Dutch landscape painters, 


was a pupil of Allart van Everdingen. He was a member of the guild ~ 
of St. Luke of Haarlem; but-in spite of the appreciation of his fellow- 7 


artists, died in. poverty. His poetic nature and genius is shown in 
his penetrating and sincere interpretations of picturesque scenery. 

H. 1034; W. 8% © 
Wash. India ink. Watermark, a fleur-de-lys, within ¢ an escutcheon, 
surmounted by a crown. 


A LANDSCAPE WITH TREES ~ | 
A remarkably well-drawn group of trees is the principal feature in this - 


picture, beneath whose shade are seen two figures. The foreground is © 


occupied by a rush-bordered pool and at the left is the edge of a 
wood, behind which stretch low distant hills; and over all a soft, 


glowing sky banked with masses of faint clouds. —«x#. 67%; W. 534 


Wash. India ink. Watermark, a fleur-de-lys. 


Solomon van Ruysdael 
Haarlem 1600-1670 


A VALLEY SCENE 


A winding stretch of well-wooded valley with precipitous slopes, from — 
whose rocky heights a waterfall cascades; in the foreground, standing — 
knee-deep in the stream, are two cows, the herdsman leaning on his 
staff at the brink. Tall trees with luxuriant foliage frame both sides of — 
the scene, which presents a picturesque medley of water, rocks, sky — 
and trees, handled with manifest breadth. 3 
Solomon Van Ruysdael was a painter of great merit. His freedom of @ 
treatment and originality is seen in his landscapes, his favorite sub- 
jects being the banks of rivers with figures and animals introduced; ~ 
these are rendered with much truthfulness, giving an individual note — ; 

to his compositions. H. 1014; W. 1334 | 


Wash. India ink. Watermark, an open crown. 
[SEE ILLUSTRATION] 


48 


gg 9 acme hums ® nSm_ _m_ ShMre- IR gg RSS rs STS >> ge uh S ATRST™" su . gen gam iT  se gsa™t mililaRahe dmma a , = -— a a —— 


[I6PL WaaWAN] 
THVGSANY NVA NOWO'TIOS 


= = — Se ee 


F Cornelis Sachtleven 
Rotterdam 1606-1682 


1 50 THE SMOKER 


A clever study of a contemplative peasant seated in a rush-bottomed 
chair with one foot resting on a box and holding in his left hand the 
| stem of a long pipe which he is smoking; on the floor beside him is a 
ny broken pipe and a paper of tobacco. Well drawn and forcefully 
ti — handled, the facial expression being deftly indicated. 

ba Cornelis Sachtleven acquired considerable reputation as a painter 
of peasant life, interiors of farm houses and the recreations of vil- 
lagers, his work being well composed and boldly designed, though less 
___ meritorious than that of Adrian Brouwer or Teniers, pe Dae he 
followed. 814; W. 6% 
— _ —Red chalk. Signed and dated, to the left, C. S., 1659. 


Hendrik Spilman 
Amsterdam 1721. Haarlem 1784 
151 A RIVER SCENE 

A brilliant drawing of an arched bridge crossing a stream, on the banks 
| of which are shown trees and houses; three figures are indicated, one 
. fishing; beyond and through the opening the masts and sails of boats 
Cc are visible. This sketch is vivid yet simple, the entire scene drawn 


- with rapidity and freedom. H. 334; W. 64% 
Pen and ink, sepia, tinted in colors. Watermark, a seated figure of 
_ Taberty. 
Abraham Storck 


Amsterdam 1650-1710 

152 FISHING BOATS ON THE AMSTEL 

A rapid sketch drawn in a distinctive manner of fishing craft lying 
near a wharf on which a building with high-pitched roof and turreted 
tower occupies a prominent position. In front, a laden rowboat 
_ -approaches the shore, while on the horizon, to the left, the spires of 
/ | Amsterdam are seen. 

Abraham Storck usually painted views on the Amstel near Amsterdam 
| _-with a variety of boats with figures. His pictures are ingenuously 
grouped and drawn with precision, clear and transparent in coloring; 
the sky and water particularly good. H. 75; W. 11% 
Pen and ink and wash. sepia. Watermark, a seated figure of Liberty 
within a palisade. 


Johannes Swertner 
& Haarlem 1738-1815 
153 FISHING BOATS IN A BREEZE 

A spirited drawing of fishing boats lying off a windy shore; at the 
right is a vessel at anchor with furled sails, behind which, heeling over 

A in the breeze, another is passing, while more are to be seen beyond, 
making for land at the foot of a tower. This sketch achieves a ite of 
movement and vigor. H. 5; W. 8% 
Pen and ink and wash. sepia. Watermark, a figure of lea within 
a crowned and inscribed band. 


49 


’ af i 
¥ } 


Anton Ter Himpel | 
Amsterdam 1634 


154 FISHERMEN ON THE BANKS OF A STREAM 


- An effective sketch of a river bank, with a thatched house and out- 

B _- _ buildings on a wharf jutting into the water; nearby is a man in a boat 
lp and in the foreground a fisherman seated beside a branching tree. 
Implied throughout is a feeling for atmospheric verity. | 

Black chalk, washed with sepia. From the Collection of Wm. prim Esq. 
Watermark, G.R., surmounted by a crown. 


155 A COUNTRY ROADSIDE 


A charming little drawing of a road between sloping banks on the ~ 

crest of which on the right stands a lofty tree in full foliage beside a 

rude fence. A wayfarer and his dog are in the foreground and at the © 

) .- bend are seen two more travellers; beyond, the houses and spire of a 

/ / distant town top the wooded landscape. H. 444; W. 85% © 


Wash, india ink, outlined in sepia. Signed, on reverse, A. der Himpel. & 


Jacob van der Ulft — 
Gorinchen 1627-1688 


156 VIEW OF AN ITALIAN TOWN 


This drawing is the original sketch for No. 2388, in the catalogue of _ 
the Rijks Museum in Amsterdam, in which it is described as “View _ 
of an Italian town. High antique buildings, behind which a dome — 

rises aloft. From the cabinet van Heteren, 1809.” 4 
Jacob van der Ulft, a pupil of Jan Both, travelled in Italy painting — 
landscape and archeological subjects; his drawing and coloring were | 
considered very good. On his return to his native town he was elected — 
Burgomaster. Van der Ulft was known as one of the best painters on 
glass of his time and also as an engraver. H. 6; W. 734 — 


Wash, sepia. Watermark, letters L.B.M. 


157 ITALIAN RUINS 


/// ~ _4An ancient arched and columned portico surmounted by statuary, _ 
| flanked by an ornate building decorated with figures, in front of which © 
stands a memorial shaft topped by a statue. At the base is a group of 
persons and in the distance other ruined remains backgrounded by 
remote hills; the whole depicted with a well-balanced epi of 
chiaroscuro. H. 644; W. 8% 


Esais van de Velde 
Amsterdam 1590. Leyden 1652 


158 LANDSCAPE WITH FIGURES 


A boldly executed drawing of a rocky eminence overlooking a river, 
spanned by a stone bridge with arched openings connecting the two 
parts of a town, whose square-topped edifices and towers line the — 
banks. Beyond, at the right, rise verdant slopes dotted with trees 
and houses; and on the left stands a building, at the side of a descending 


50 


roadway, along which are travelling animated groups of figures and 
: wares the boulder-strewn foreground, past the fallen trunk 
of a 
The composition is most effective and full of life and motion; the 
treatment broad yet simple and the general effect satisfactory. 
H. 1034; W. 1654 
cae chalk. Signed and dated, lower left-hand corner, E. V. Velde, 


Jan van de Velde 
Rotterdam 1598-1665 


1 WINTER SCENE ON A RIVER 


Animated groups of figures, some skating on the frozen surface of a river, 
on which a tent has been pitched beside a boat embedded in the ice. 
On the right is a vessel in the same plight, lying off a tree-clad point 
on which stands a house whose snow-covered roof is seen beyond the 
wharf; alongside of this, a man is seated on a bench, having his skates 
adjusted; the entire drawing full of natural effect and comprehensive 
_definition. 
_ Jan van de Velde, younger brother of Esais, achieved recognition for 
his pictures of landscapes, merry makings and familiar activities of 
the masses; but distinguished himself more as an engraver than as a 
painter. H. 334; W. 534 
Wash. Sepia. Signed, lower left-hand corner, J. van de Velde. 


Willem van de Velde 
. Amsterdam 1633. London 1707 
1160 THE DUTCH FLEET AT ANCHOR 
_ A superb rendering of atmospheric effect treated in a masterly man- 
ner, drawn with simplicity and directness. The stately fleet of war 


" mcpaa their sides bristling with cannon, raise their lofty poops and | 
wering masts high above the water and, proudly flaunting broad 


y) F “ensigns, swing lazily at the cables. The formidable array spreads 
i's away to the horizon, a shadowy forest of tall spars spearing the dim 
OF 

by} Only an artist with absolute command of his medium could have pro- 
of duced such a semblance of the vague movement of a calm sea; and the 
1) elaborate ornamentation on the sterns, though mere indications, con- 


veys an impression of detail. 
Willem van de Velde studied under his father, later becoming a pupil 
of Simon de Vlieger, and Bryan, mentioning this, thus eulogizes him: 
“His progress under that master was extraordinary, and he not only 
surpassed his instructor, and all his contemporaries, but he arrived at 
a perfection in the particular branch to which he devoted himself 
F _ which is universally allowed to be unrivalled.” H. 6%; W. 1538 
i Pencil and wash. India ink. From Wm. Mayor, Esq’s., Collection. 
; Collector’s mark, Fagan No. 601. Lower right-hand corner. 


[SEE ILLUSTRATION] 
/ 51 


Kt A 4) og St. George Ensign, and to the right, a Dutch trading brig i in full sai 


hog | 
/ TU 


/, 166 THE EDGE OF THE WOOD 


Sid Cae triumphant over her lowered flag; her captor with all sails set is 


161 THE BRITISH FLEET OFF DOVER 


A graphic illustration of ‘“‘England’s far-flung battle line” of forme r 
days, with the castle-crowned ‘White Cliffs of Albion” at the left. 
The flotilla ranged in orderly sequence is seen, putting out to sea, 
the vessels in the bay maneuvering to their places i in the ranks. The 
centre is occupied by a well-drawn ship carefully detailed, flying the 


is heading in the opposite direction. An interesting drawing, full of 
animation and movement. H. 8%; W. 1034 


Pen and ink, and wash. India ink. Signed, lower left-hand corner, 
W.».d. V. From the collection of Wallkam II of Holland. Watermark, 
a fleur-de-lys within a crowned escutcheon. : 


163 A NAVAL ENGAGEMENT 


An admirable commemorative drawing in the centre of which is seen. 
a captured first-rater, dismasted, the standing and running gear of 
her main and mizzen shot away, ‘the foresail and foretopsail hanging 
loose and tattered, while at the stern the cross of St. George floats 


towing the vanquished vessel to a safe berth. At the left, another 
English man-of-war is engaging the fleeing Spaniards and in the dis- 
tance the rest of the fleet is bearing up to participate in the attack.” 
Freely and spiritedly drawn, the indication of strength and activity, 
combined with good composition, demonstrates this ze Re a record of 
an actual incident. 1054; W. 1654. 
Wash. India ink. Watermark, a horn within an Pei escutch- 
eon, crowned; below under the name L. V. Gerrevin, a bell decorated 
with the letter S. | 


[SEE ILLUSTRATION] 
164 MARINE 


A representation drawn with careful detail, of a boat containing thred 
men rowing out to a naval vessel, coming to anchor at the right, while 
J another craft, with sails set, is approaching her; peg and to the 
left, more ships are faintly perceptible. H. 934; W. 73% 
Pen and ink, sepia, wash. India ink. Signed (almost fis 
able) at lower left-hand corner, W. v. d. Velde. From the collection of 
King William IT of Holland. | 


165 A NAVAL COMBAT 
A spirited sketch of two contending fleets approaching each other in 
| » _ battle array, partly obscured by the smoke from the belching guns, 
p ia Drawn with extreme vigor and boldness, the two leading vessels, 
; defined more powerfully than the rest, with a fine sense of ae foi 
so small a conception. H. 2; W. 514 
ren and ink, sepia, wash. India ink. Signed, lower iefichand corner 
elde. 
Anton Waterloo 
Utrecht 1610-1670 


A delightful drawing full of the sentiment of nature; the foliag 
rendered with great deftness, the chiaroscuro defining the planes a 


52 


ue | [NUMBER 163] 


05 UF 
mT WILLIAM VAN DE VELDE 


\ 


nf cl SRC a 


yo 


«zt : 
> 
=: 
aD ve 
E 


it eyed 


____ vision, which gives‘a clarity of atmosphere to the whole. The gently 
_____ flowing stream, shaded by the luxuriant growth overhead, reflects the 
____ clear sky, and makes a pleasant note which the rugged beauty of the 
gnarled tree trunks serves only to accentuate. The technique is 
____ elear and direct in manner, giving a distinct quality to the massing of 
the leaves and the play of light and shade. 

Anton Waterloo, an engraver as well as painter, produced landscapes 
which are characterized by the most interesting simplicity and truth 
to nature. H. 534; W. 83% 
Pen and ink, sepia, wash. India ink. 


a Jacob de Wit 
| eet | Amsterdam 1695-1754 


Pus 
167 TWO HEADS OF WINGED CHERUBS 


A charming drawing of two heads, one in profile facing left and the 

. other alongside nearly full face, both looking downward; beautifully 

| drawn, suggesting the sweetness and fascinating spirit of childhood; 

ag gracefully composed, and imbued with a poetic sense of action and 
movement. 

_ Jacob de Wit was famous as a painter of altar-pieces, also for his 
allegorical and emblematic decorations for ceilings and sumptuous 
a ents, and was particularly successful in his representation of 
children, which he was fond of introducing into his pictures. His 
decorative paintings of infants sporting, done in chiaroscuro, are re- 

_ markably fine and are held in the highest esteem. H. 754; W. 1034 
Black chalk, heightened with white chalk, on light grey paper. Signed, 
lower right-hand corner, J. de Wit. 


168 CHILDREN SPORTING 


An attractive, well-balanced design for a panel in chiaroscuro, com- 

bo -prising an animated group of eight infants in varying attitudes play- 

: ing around a pedestal; replete with action and drawn with decision 
and ease. H. 233; W. 12% 
Pen and ink and wash. India ink. Signed, on reverse, J. de Wit. 


Philip Wouverman 
Haarlem 1619. Amsterdam 1668 


169 SOLDIERS DISPUTING 


Three soldiers grouped around a drum, outside of a tent above which 
| [ _ a flag hangs, one lying on his side, another kneeling, his hand raised to 
his head, the third standing with a halberd in his hand, the right 
pointing downward. The quaint expression of dismay exhibited on the 
face of the kneeling figure contrasting with the dictatorial attitude of the 
| man standing over him lends a humorous touch to this sketch. 
| Wouverman, whose painting of military subjects and groups of riders 
| ean be identified by the white horse he usually introduces, studied 
| under Johan Wynants. Drawings by him are rare, and a tradition 
exists that he was so poorly recompensed for his labors that he burnt 
all his sketches, shortly before his death, for fear that his son might 
follow in his footsteps. H. 654; W. 5% 
| Brown chalk and plumbago. 
53 


+ ear 


170 LANDSCAPE WITH TREES 


Pe 


wal 


a 


/ 172 THE RESURRECTION OF CHRIST 


Y 


a 


- bushes; the entire picture being drawn with delicacy and nat 


Johan Wynants 
Haarlem 1625. Amsterdam 1682 


A carefully finished drawing of a landscape with two gnarled tr oe. 
trunks on the rising bank of a river; at the right is a pollard willow 
and behind it rushes and distant fields; at the left is a clump o of 


perception. q 
Johan Wynants was one of the most distinguished artists of his time. 
He established an academy which has produced some of the ablest 
painters of the Dutch school, including Adrian van der Velde and 
Philip Wouverman. His pictures are faithful transcripts of the 
scenery of his country. H. 6144; W. 8% 
Wash. India ink. From the collection of William Mayor, Hs 
initialed on reverse, W. M., 1845. Watermark, a Mende sah? j 


FLEMISH SCHOOL 


NUMBERS 171-196 


Adrian Francois Baudwyn (Boudewyns) 
Dixmude 1644. Paris 1700 


CASTLE IN A VALLEY 


A representation of an extensive castle with battlemented towers and 
walls, situated in a deep valley from which on the left rises a pre- 
cipitous slope. The foreground is occupied by two leafy trees; under © 
these are two figures, one seated, and beyond, a third; the composi- — 
tion is well arranged and cleverly drawn. 

Baudwyn, after studying painting under F. A. van der Muelen, 
devoted himself entirely to engraving, executing many successful ~ 
plates, principally landscapes with figures. H. 844; W. 105% — 
Black chalk, heightened with white on blue-grey paper. _ Signed, lower 
right-hand corner, Adrian Baudwyn. 


Hans Bol 
Mechlin 15384. Amsterdam 1593 


A remarkably fine composition, admirably drawn, showing the figure © 
of Christ, arm extended and pointing upward, holding a banner flying © 
from a cross. Surrounded by clouds it floats heavenwards from the ~ 
entrance to a cave in the rocky side of the tree-clad eminence. On 
the stone, which previously closed the opening, sits an angel and below — 
is a group of soldiers in attitudes of surprise and fear. The arrange- 
ment of this design is excellent, due value being given to the unity of - 
purpose of the different figures, a proper sense of proportion being 


- well indicated. H. 10%; W. 3% 


Pen and ink, wash. India ink. Signed, in central base, H. Bol. 
54 


' Adrian Brouwer 


aa Ondenarde 1605. Antwerp 1640 
Fr 173 A GATHERING OF CHAFFERING MARKET WOMEN 


t A dexterous drawing evincing a shrewd insight into the characteristics 
| of the lower class, each figure perfect in its exemplification. The 
J ~ simplicity of treatment is equalled by the natural truth of the attitudes 
and typical pose of the entire group. 

Brouwer was a fellow-student with Adrian van Ostade under Franz 
Hals and became an intimate of Rubens, but fell a victim to his 

intemperate habits at an early age. His drawings are very scarce. 
H. 534; W. 113% 


Pen and ink and wash. India ink. Watermark, a Jester’s bauble. 


Dionysius Calvart 
Antwerp 1545. Bologna 1619 


174 CLASSICAL SUBJECT 


A drawing of a male figure in Roman costume, menacing, with drawn 
sword, a nude woman whom he grasps by the throat, thrusting her 
backward onto a richly ornamented and canopied bed; drawn with 
{ considerable vigor and decisive action. | 
| / ~Calvart, with some reputation as a landscape artist, came early to 
Italy, becoming a pupil of Sabbatini, whom he assisted in his paint- 
_ ings in the Vatican. He subsequently established a school of great 
merit in Bologna, where Albarro, Domenichino, and Guido Remi 
received their first instruction in art. His own paintings were held 
in great esteem and are to be found in many of the Bolognese churches. 
H. 7144; W. 105% 

Pen and ink. Sepia and Ae India ink. 


John Baptist Gaspars 
Antwerp 1659. London 1691 


175 HEAD OF A DOG 


A well-drawn head of a dog exposing his fangs, ably handled, display- 
| ing good direction of line and facility of execution. 

| a Gaspars was a pupil of Bosschaerts and subsequently visited England, 
| becoming assistant to Sir Peter Lely and later to Sir Godfrey Kneller; 
he was a good draughtsman and excelled in making designs for 
tapestry. H. 734; W. 954 
Red and black chalk. Signed, lower right-hand corner, Gaspard fecit. 
Watermark, a fleur-de-lys. 


Abraham Genoels 
| Antwerp 1640-1723 
176 A MOUNTAIN GORGE 


A dashing and brilliant sketch, showing on the right a towering mass 
4. of rock lifting its verdure-topped pinnacles to the skies, a-solitary fir 
tree standing out conspicuously against it. Below, a rustic bridge 


55 


177 


178 


conception, ceil and adequately rendered. Genoels, who may 
be ranked among the ablest landscape artists of his country, visited 
Paris, where he was engaged in designing tapestries and also collab- 
orated with Lebrun in his “Battle of Alexander,”’ later ee elected 
a Member of the Academy. H. 1614; W. 734 


Pen and ink. Sepia wash, and India ink. Signed, at base, A. Genolos. 
Watermark, a fleur-de-lys in a decorative escutcheon heals by a 
crown, beneath, the letters L.V.G. : 


Jacob Jordaens 
Antwerp 1593-1678 


HEALING THE LAME 


A notable drawing by this master, manifesting his fertility of composi-_ 
tion and individuality of execution. A splendid example, probably 
one of the series of which another design is found in the Charles Fair- 
fax Murray Collection (since acquired by the late J. P. Morgan), 
catalogued as No. 168, and described as ‘‘Design for one of the Works 
of Mercy, purchased from Mariette.” ' 
In front of a building with columned portico, from the open door of 
which issues a robed ecclesiastic, sits a male figure, possibly one of the 
Apostles, addressing a man who is removing a bandage from his leg; ~ 
behind and to the right is a concourse of wondering and surprised 
figures. In the foreground is a seated woman, another leaning over — 
her, both holding books in their hands and a filled basket of the | same 

alongside; nearby is Jordaens’ inevitably introduced dog. This is a 
strikingly recognizable specimen of Jordaens’ work. 
Jordaens was a pupil of Adam van Noort, whose daughter he married. 
He collaborated with Rubens in a set of tapestries made for the King © 
of Spain and was considered second only to that master in brilliancy 
of coloring and artistic performance. H. 1444; W. 1714 
Red and black chalks. Watermark, the Arms of Holland, supported by — 
two lions, guardant. 4a 


[SEE ILLUSTRATION] 


SAINT ANTONY OF PADUA 


A well-arranged drawing of Saint Antony holding a stem of lilies in” 
his left hand, standing on a decorative pedestal with winged cherubs — 
at his feet, raising his right hand in benediction towards a kneeling — 
mother appealing for her infant’s welfare; immediately above herisa _ 
sinking ship with a vision of the saint. On the opposite side is a build- — 
ing in conflagration, and below, a man handling two bodies dead of the _ 
plague; behind him, two others raising their hands in entreaty, while 
beyond are seen two more bearing a corpse on a stretcher. In the 
upper corners are winged cherubs bearing escutcheons, in the right-_ 
hand one, a sick person and on the left-hand one, four arms with 
upraised invocating hands. H. 114; W. 85% 


Pen and ink. Sepia wash, blue-grey tint. Signed, lower left-hand 
corner, J. J. fac. Watermark, a fleur-de-lys. : 


56 


JACOB JORDAENS 
[NUMBER 177] 


AL fs RTD SA RB SS la Maa 


ee 
ates 


Lae ‘ Gerard de Lairesse 
» Liege 1640. Amsterdam 1711. 


7179 A GROUP OF ROMAN WARRIORS 
An interesting drawing of a warrior in classic costume, bearing a 
shield on his left arm, the other being outstretched and pointing, 
addressing another helmeted and plumed figure, while behind are 
: seen three more; cleverly drawn with careful detail. 
4 —Gerard de Lairesse was considered the greatest historical painter of 
= his time and was an attentive observer of proper costuming. He 
____ painted with extraordinary facility and enriched his backgrounds with 
architectural accessories, the principles of which he perfectly under- 
stood. H. 61%; W. 33% 
ee ~Penandink. Sepia wash, blue-grey tint. In the lower left-hand corner 
___ of the mount 1s a collector’s mark, unknown to Fagan, and on the opposite 
side, on the drawing, the mark of Queen Christina of Sweden, Fagan 
No. 71. On the reverse of the original mount is another mark, in script, 
also unknown to Fagan, and an inscription in Italian. 


180 THE LAST SUPPER 
'_,. A masterly composition, classic in manner, delicately drawn with 
' / anuch dignity and appropriate action, curiously combining the reli- 
¥# gious veneration of the earlier Italian artists with the luxuriance of the 
’ later Venetian school. The ordonnance of the grouped figures, 
enhanced by the decorative quality of the architectural adornments, 
is remarkably effective. The exalted bearing of Christ contrasted with 
the lowly humility of The Magdalen, the varying attitudes and expres- 
sions of the Apostles, and the bustling activities of the attendants, all 
unite in forming a production of the highest pictorial merit, combining 
grace and feeling with simple and dexterous execution. 

H. 914; W. 20% 

Wash, in grey tones. Signed in monogram, G. L., on circular vessel in 
lower right center. Watermark, a fleur-de-lys within a crowned escutch- 

eon. 


‘bo 


Jean Baptiste Madou 


181 LANCERS CROSSING A FORD 


Drawing of two mounted soldiers entering a stream; on the banks 
| under the shade of a tree is a seated goat-herd with two goats nearby. 
_2-Madou, besides painting, practiced engraving and lithography, his 
| work as an illustrator being in great demand. As an artist his merit 
was recognized by the King of the Belgians, who created him an 

officer of the Orders of the Lion and of Leopold. H. 334; W. 434 


Wash, India ink. 


Sir John Medina 
. Brussels 1660. Edinburgh 1711 
| 182 SELF PORTRAIT 


An able and candid study of Medina for his own portrait, in the 

/ / ~ Uffizi Gallery in Florence, indicated with true sincerity. 

' Sir John Medina was a scholar of Francis du Chatel and followed 
Rubens’ style. Coming to England at an early age, he achieved success 


57 


183; UNIDENTIFIED PORTRAIT OF A COURT LADY. 


é 


184 STUDY OF A LADEN ASS 


ie 


/ 185 A CLASSICAL WOODED LANDSCAPE 


i 5 Oe A Oe OS ee 
4 
- 
; 2 © 


as a painter of portraits as well as of history Sa lan decane Visi ing 
Scotland later he was commissioned by most of the Scottish nobility 
The picture, of which this is the preliminary sketch, was ra 0 
the Grand Duke of Tuscany by the Duke of Gordon. H. 634; W. 5% 
Black and red chalks, touched with white, on blue-grey paper. 2 e 
reverse ts a clever study of an arm and hand done in black chalk, i ut 

ened with white chalk. : 


Three-quarter length drawing of a lady, standing nearly full-fac ce 
holding a drapery in her left hand; backgrounded by an overhanging 
tree and a landscape. Drawn with much deftness and facility. . 
Wash. India ink, heightened with white, on grey paper. Signed, on 
reverse, Medina ft., Bruxelles. H. 754; W. 6% 


Jan Miel (Giovanni delle Vite) 
Antwerp 1599. Turin 1664 


A skillfully drawn study of an ass from whose back is suspended 4 
pannier containing two lambs. Bold and correct in drawing with good 
animal action and well-distributed light and shade, evincing an ant 
sense of natural effect. 

Miel was one of the ablest disciples of Gerard Seghers. He traveled an id 
studied extensively in Italy, where there are many religious paint- 
ings of his in various churches; though his genius was more inclined 
to genre subjects with which he adorned the Chateau of the Vennerie 
of the Duke of Savoy, who bestowed upon him the Order of Knight- 
hood of St. Maurice. H. 3%; W. 3Y%4 


Pen and ink, and wash. Sepia. 


Francis Mile 
Antwerp 1644. Paris 1680 


A beautiful drawing, showing a lake in the centre, on the edge of which 
a building is half hidden by the adjacent foliage, which culminates in 
an elevated peak on the left. A winding roadway, on which is a soli- 
tary traveler, leads away from the foreground; to the right is a 
well-defined tree and nearby are two figures, one being seated on the 
bank of a pool at the foot of a rocky eminence flanked by a group of 
luxuriant trees, a seated figure seen outlined within their shadow. The 
whole picture composed with due regard to proper Nak and displays 
ing a fine sense of aerial perspective. 

Francis Milé, studying under Laurent Frank, soon surpassed his 
master. Subsequently visiting Paris, he first painted historical sub- | 
jects; but was more successful in landscapes adorned with feurel | 
exhibiting a grandeur of scenery almost equal to Poussin, and rarely | 
approached by any artist of his school. H. 934; W. 13 |) 
Wash. India ink. From the collection of Count Moriz von Fries. | 
Collector’s mark, lower left-hand corner, Fagan, No. 570. Wateranaa 1 
a bunch of grapes. 


58 


PETER PAUL RUBENS 


NUMBER 186] 


$ aie : Peter Paul Rubens 
es Siegen 1577. Antwerp 1640 
§ STUDY OF TWO FEMALE HEADS 


An exquisitely fine drawing, combining delicacy of touch and deft- 
_ hess of line with vigorous simplicity, each stroke handled with a 
master’s feeling for intuitive expression; in addition, exhibiting 
le _ characteristics whose counterparts are discernible in many of Rubens’ 
drawings, notably the modelling of the lips and the distinctive atti- 

‘ tudes. The absolute knowledge displayed in the clarity of method and 
bd direction of the shading, the ease and grace of the technique, identifies 
this fully to those familiar with the productions of this great master. 
_ Little can be added to the general information possessed by all art 
_ amateurs concerning this great genius. Artist, diplomat, grand 
_ seigneur, he shone pre-eminent in each réle. H. 7; W. 844 
Pen and ink. Sepia. 


[SEE ILLUSTRATION] 


ae ae 


| 81 ATALANTA AND MELEAGER 


ay composition representing a hunting scene, well designed and replete 
with action, which has been engraved by Theodore van Kessel and 
illustrated in Max Rooses’ “Rubens” No. 638, Plate 197, Vol. III, 
_ p. 117, where it is described minutely. There are, however, noticeable 
variations between the plate and this original: the figure on the left 
) _ is brought nearer to the centre, likewise the horse on the right and the 
upper part of the picture is raised, allowing more of the trees to be 
) seen; the arrangement of the same in the background is distinctly 
“ _ different, the foliage being much more luxuriant on the left than in 
the painting, filling up the sky space to a greater extent. Alfred 
ad “Catalogue of Rubens’ Paintings and Drawings” mentions 
~~ five exemplars of this subject; one, in the Imperial Gallery at Vienna, 
the landscape by Wildens, and the animals by Snyders; a second, 
~ mentioned in the sale of Rubens’ effects; a third, slightly different in 
composition, engraved by Earlom; a fourth, in the possession of Lady 
Stuart, being No. 181 in the posthumous sale of Rubens; and the 
fifth, the same subject, an analogous composition to the one in Vienna, 
engraved by Van Kessel, of which this drawing is the original. 
! H. 7%; W. 10 
Black chalk wash, india ink. Inscribed, on reverse at top, Peter 
Paul Rubens. Watermark, a beehive, and beneath the word Monbron. 
From Money and Martin Collections. 


88 CIMON AND PERUS 


A splendid creation in which the figures are well massed and arranged 
| with proper ordonnance, duly adjusted to the sentiment and feeling 

of the subject. Drawn with an intense rapidity of execution visible in 
) “ the impetuous and facile pen technique. 

The incident illustrated is taken from Valerius Maximus’ “De Pietata 

erga Parentes’” and Max Rooses quotes nine replicas, those still 

extant varying, however, considerably from one another. Alfred 

Michiels in his catalogue cites five examples: One mentioned in the 


59 


t~ 


“190 STUDY OF A SEATED HOUND 


191 HEAD OF A DOG 


dispersal of Rubens’ works at his death; a second, in the Galler y a 
The Hague; a third, in the Hermitage Palace at Petrograd; a four 
in the Marlborough Collection at Blenheim, and a fifth preserved ir 
the existing engraving by Paneels. | 
This drawing is evidently the parent design, the entire execution bel nf 
undoubtedly from the hand of Rubens; the portrayal of Hele 
Fourment as the devoted daughter is clearly manifest and the boy i 
unmistakably the artist’s son, Nicolas, both being remarkably goc te 
likenesses. 
It is conjectured that most of the painting on these pictures is th ie 
work of pupils, amplified and finished by the master, and in most cz sé 
the virility and charm shown in the faces of the original are lost, th 
composition being far less effectively artistic and expressive than i 
this striking record of Rubens’ individuality. None of the painting 
display the grace of attitude of the woman’s form or the infantil 
vivacity of the child peeping so archly over her shoulder. As is oftet 
the case, the artist’s inception is more satisfying to the discriminatin 
than the finished product. H. 8; W. 103 
Pen and ink. Sepia. Collector’s mark, on lower left-hand corner, Fagai 
241, Guiseppe Vallardt. From Vallardi, Money and Martin Collections 
Watermark, undecipherable, apparently a hand holding a stem of ele 
Squared for enlargement. 4 


Francis Snyders 
Antwerp 1579-1657 


STUDY OF A DOG LOOKING DOWNWARDS 


A capable sketch of a dog seated, drawn with considerable freedom and 
anatomical knowledge, the simplicity of treatment denoting absolute | 
proficiency of animal delineation. Snyders, pupil of Henry van Balen, } 
early attracted the attention of Rubens, who frequently entrusted to | 
him the painting of animals, fruit, etc., in his pictures. His coloring | 
and spirited touch were so excellent that it is difficult to distinguis h| 
Snyders’ work from Rubens’. ; | 
The vigorous action exhibited in his designs of animals displaying } 
ferocity was remarkably good; his fruit and game pieces also are} 
admirable in color, clear and chaste. To these achievements must be 
added his etchings, which were executed in an one and masterly 
style. H. 544; W. 6% VY, 
Black chalk, heightened with white chalk, on grey-tinted paper. 


A vigorous sketch, full of action, of a dog scratching; freely and boldly 
drawn, expressing with fidelity natural movement and distinctive 
pose, every canine trait deftly featured. H. 5%; W. 57 


Black chalk, heightened with white chalk, on grey-tinted paper. 


| 
A clever and brilliant sketch of a dog’s head looking towards the left. 
Drawn with great dexterity, evincing fidelity to nature, and chara 
indicated in the simplest possible manner. H. 634; W. 4% yy 


Black chalk, touched with white and red chalks, on buff paper. 
60 


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ANTHONY VAN DYCK 
[NUMBER 192] 


tye 


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Sir Anthony Van Dyck 
Antwerp 1599. London 1640 
PORTRAIT OF CORNELIS SCHUT 
A virile preliminary sketch for the portrait of Cornelis Schut, engraved 


by Lucas Vosterman for the “Series of Eminent Artists,” produced by 


Van Dyck. A second and more detailed drawing, finished in black 


ey chalk and washed in india ink, probably for the use of the engraver, 


exists in the collection of M. Dutuit and is illustrated in Guiffrey’s 
“Van Dyck,” p. 114, in which differences, though not material changes, 
are perceptible, i.e., ‘the chin is not so full below; the space above the 
head is less; the ear is more covered by the hair in front, the arrange- 
ment and treatment of which differ in details; the lower lip is less 
pendent and the goatee does not straggle; the shape of the nostril is 
not quite the same, the opening being lower at the wing; the tip of 
the nose is less abrupt and the forehead is smoother and less retreating. 
The right side of the collar ends in a point, extending further than the 
original, and the lining of the cloak is closer to the buttons, much more 
even in the folds, which throughout are all much simplified : the third 


_ finger of the hand not so visible, neither is the little finger, and the 
_ euff on the lawn sleeve is different in shape. This original betrays 


more character and individuality than the Dutuit drawing, which 
appears labored in comparison. 


w* 


£ 


193 


The career of this great portraitist is too well known to need exploita- 
tion here, but it is interesting to note that this series of inimitable 
portraits of the eminent artists of his time has perhaps never been 


equalled for the admirable variety of attitudes and the characteristic 


expression of the heads. They were engraved by the ablest exponents 
of that art, several of them being etched by Van ee Ww. : 
29 


Pen and ink. ie shaded with India ink. Watermark, three mounts 
bearing a cross. Titled in the artist’s handwriting, below, Cornelis 


— Schut, Pitt. Se. 


[SEE ILLUSTRATION] 


THE OLYMPIAN HEIGHTS 


A fanciful conception representing a multitude of nude female figures 
assembled in the fore and middle grounds, beyond which is a lofty 
eminence on whose sheer sides are suggested trees and groups wander- 
ing amid them. In the centre are wrestling forms and nearby a circle 


_- ot dancers, while immediately above a musician plays to an admiring 
_ audience. The individual gatherings, simply and broadly rendered, 


exhibiting the variety and disposition of the masses, combined with 
grace and freedom of action, impart a picturesque airiness to a poetic 
creation. 

In the centre near the top and at the left side are some undeciphered 
writings. H. 11; W. 83% 


Pen and ink. Sepia. Signed, at lower left base, Antoni van Dyck, F. 
From the Money and Martin Collections. 


61 


Tobias Verhaeght 
Antwerp 1566—1631 


194 AN ITALIAN LANDSCAPE 


A well-drawn view, executed in an individual manner, of a diate 
valley dotted with fortified, castellated buildings, fercsvanndana 0] 
the right by precipices on which are a cluster of pines. A picturesque 
roadway traverses the brook on rustic trestles, zigzagging over stone 

} ie arches which cross the main stream, eventually losing itself among the 

: foot-hills;_ a broken fir tree, near which are two travelers, droops 
towards the cascade in front. . 
Verhaeght was Rubens’ first master. He acquired éelebrity as aland 1- 
scape painter, working in Italy under the patronage of the Duke of 
Tuscany. His scenery is usually grand and impressive and display; 
greater feeling for aerial perspective than most of his contemporaries. 

10144; W. 18 


Pen and ink and wash. Sepia. Watermark, an elephant. 


Giacomo Du Vivier 
Liege 1687. Paris 1761. 


195 DESIGN FOR DECORATIVE ARMORIAL BEARINGS 


A nicely finished design in the rococo style, enclosing the conjoined 
.  » arms of two families, recording the union of Abraham Jacomo van 
/ 0 Halmaal and Helena van Gorp. A rather typical example of the orna- 
| mentation of the Louis XV period; a pleasing arrangement neatly 
drawn. Du Vivier settling in Paris flourished as an engraver notably - 

in armorial design and dies for medals. There are also some creditable 
plates by his hand. H. 11; W. 83% 


Wash. India ink. Signed, 1n monogram, lower right-hand corner, | 
G.D.V., invt., and dated on left base of ornament, 1761. : ; 


Martin de Vos 
Antwerp 1581-1628 


~ An extremely interesting drawing, probably made for engraving or 4 
Z designed for a tapestry panel, showing Marie de Medici seated and 
beside her the Goddess of Plenty, bearing an overflowing cornucopia 

and holding a sickle in her hand. Beyond, seen between the two 
figures, is a bear, and at the right, within a pillared hall, guests are” 
sitting at aladen table. The portrait of the queen is well drawn and the - 
composition arranged in a manner frequently met with in prints of the 
period. Martin de Vos studied under his father, who was also an artist, © 

and subsequently with Francis Floris. Deciding to go to Italy, hal 
visited Venice, where he became acquainted with Tintoretto, who not 

only instructed him in the best principles of coloring but employed — 

him as coadjutor to paint the landscapes in his pictures. De Vos” 
eventually acquired such reputation as to be employed in painting the - 


/ 196 AN ALLEGORY 


» 


portraits of several of the Medici family. H. 634; W. 9% 

Pen and ink and wash. Sepia. Watermark, a bugle surmounted by 4 

a@ cross. 
62 


- FRENCH SCHOOL 


NUMBERS 197-827 
Jean Berain 
Paris 1630-1697 


7A SHEET OF TEN GROTESQUE MASKS 


A page of skillfully drawn fantastic heads, three of them human, the 
upper one surrounded by a tasteful frame; freely and cleverly ren- 
“dered. The decorative qualities of the fanciful distortions imply a 
~ sense of ornamental application combined with a knowledge of animal 
a and human expression. 
a _ Berain, specializing in this field of art, etched several series of plates, 
_ mostly from his own designs, of quaint and bizarre devices and 
ri 4 embellishments, which were received with favor. H. 8; W. 5144 


rene. 


Pierre Nolasque Bergeret 
Bordeaux 1782. Paris 1863 


08 § DESIGN FOR BAS-RELIEF ON THE COLUMN VENDOME at 
aris. 


ta [a spirited and capably executed pomocetion commemorating Napo- 
leon’s conquest of Italy. The laurel-decked victor triumphantly 
crowns a seated figure of Italia, at whose feet a winged cherub pours 
from a cornucopia a plenteous abundance; while Fame bestowing a 
wreath of honor hovers above heralding the hero’s glory on a trumpet 
from which waves a banner inscribed, Marengo. At the left are three 
oth soldiers of the Old Guard in their bearskin shakos, carrying standards; 
‘) while in the background and scattered under foot are captured 
™® military trophies, amidst which are three Amorini, one, seated in the 
' foreground, holding a club emblematical of Force; the others, behind, 

’ one bearing a palm of Merit and one the scales of Justice. The whole 
' subject painted in harmoniously varying monotone, reproducing the 

effect of bronze and shaded in simulation of relief. 

 Bergeret, a pupil of David, was a distinguished painter of landscape 

, and historical subjects, many of his pictures being in the Luxembourg. 
vt _ Besides the bas-reliefs on the column in the Place Vendéme, he fur- 
a)  Oished designs for the medals struck at the Mint, and his talent as 
an illustrator is preserved in the splendid editions of Boileau, La 
Fontaine and other French Classics. H. 634; W. 9 


- Gouache. 


Jean Jacques Boissieu 
Lyons 1786-1810 


‘| 9 RIVER VIEW WITH A FORTIFIED BRIDGE 


ge 
A carefully finished drawing of a stone bridge on arches, guarded by 
{ _ruined citadels at either end, spanning a stream flowing smoothly 
| ~ between the jutting buttresses; with a laden barge and boat at the 
Oy Bore, on which are seen groups of seated and standing figures and on 
i _ the sloping rise of the roadway are wayfarers, one mounted on a mule. 
a The farther bank shows trees and a house, backgrounded by rolling 


63 


an 


hills. Well composed, drawn with exceptional precision, exhibitin 
a fine sense of chiaroscuro. De Boissieu was a landscape painter, bu 
he is principally known by his charming etchings of scenery and othe 
subjects from his own drawings, as well as after other masters. 

. 1354; W. 103 Y 
Wash. India ink, heightened with white, on light bron paper. Cc 
lector’s mark, in lower left-hand corner, Fagan No. 361. 


200 VIEW OF THE RUINS AT OLLIVETTO 


A bold and rapid sketch of a winding roadway averlonlen es a rive 
whose meandering waters wash the foot of a terraced slope on tt 

~  erest of which stand picturesque ruins; on the opposite side of tk 
L- stream, over an arched bridge, is a clump of trees, and beyond, grour 
of buildings, with hills in the background. A gaa rendering of 

pleasing landscape. 1054; W. 14! 


Pen and ink and wash. Sanit 


Edmée Bouchardon 
Chaumont 1698. Paris 1762 


201 THE FARNESIAN HERCULES 


A precisely detailed drawing of the Statue of Hercules, evidently done 

for purposes of study. There are several examples by this sculptor 
a _; in the collection of drawings at the Louvre of similar educational 
K( <I€¢ intent, finished in the same careful manner. 4 
Bouchardon, a pupil of Couston, later studied in Rome and on hig" 
return to Paris was employed in important public works, including 
statues of Louis XV, several in St. Sulpice, the Fontaine des Grenelles 
and several figures for the adorment of the gardens at Versailles. 


Sanguine. H. 103%; W. 6! | 4 


202 AN ALLEGORICAL FIGURE OF THE RIVER NILE . | 

A delicately drawn study from the antique of a recumbent River 

i, » God holding a cornucopia and attended by a Sphinx, emblematic « | 
GU the River Nile. These symbolic figures were often introduced in at 
for the purpose of attributive illustration of important waterway vs, 

such as the Thames, Tiber, Nile, etc. H. 634; W. 9% 


Sanguine. 


208 A SHEET OF STUDIES 


io An interesting series of studies comprising two standing eee ch 

Eo nude female figures, seen from the back, with the left foot of e 
resting on a block, and above three heads, one nearly full-faced 2 
two in three- quarter; the two on the left with coronets and the thin ) 
a variant on the second, wearing a crescent-shaped head-dna S. 
Exceptionally well drawn, exhibitin g extreme grace of pee and co ect 
anatomical perception. H. 554; W. 4’ 


Pen and ink, and wash. India ink. 
64 


2 a le le RE -aalaNe te dae 


[NUMBER 205] [NUMBER 204] 


FRANCOIS BOUCHER 


Fraricois Boucher 
; Paris 1703-1770 
4 A GROUP OF CUPIDS 
_ An exquisite and tastefully-arranged composition, depicting, with 
_ ingenuous charm, a cupid with wings extended, resting on a bank of 
_ clouds, in a delightful infantile attitude, surrounded by four other 
- fascinatingly portrayed children’s heads, whose shoulders and wings 
only are shown. This drawing displays Boucher’s mastery of tech- 
_ nique; the absolute sureness, the fidelity to nature, the inherent 
_ fanciful ideality and poetic conception, combined with a dainty 
Pp airiness of pose and the dimpled beauty and grace of the rounded little 
_~forms and faces, constitute a bewitching accomplishment of great 
1 Fa decorative quality. 
__ Few artists have acquired more reputation or flattering encourage- 
__ ment in their lifetime than Boucher. A perfect master of the mechan- 
ism of his art, he was one of the most admired and favored by the 
_ patronage of the French court, being appointed First Painter to the 
King. . | H. 1234; W. 934 
— Sanguine and white chalk on greyish-buff paper. Signed, lower left- 
hand corner, F. Boucher, Del. Collector’s mark on reverse in monogram, 
| ae gga acircle, unknown to Fagan. Watermark, Fargeau, Limosin, 
~ Buville. | 

: [SEE ILLUSTRATION] 


5 STUDY OF A CUPID 

A fascinating study of an infantile figure whose dimpling, rounded 
curves are charmingly expressed, the modelling being unusually 
fleshy. The babyish contours of the face with its innocent air so aptly 
_ drawn is only surpassed by the capable treatment of the balance of 
) the subject. The vivacity and unerring simplicity and directness of 
GF —manner in which this drawing is handled mark this as one of Boucher’s 
' most admirable productions. H. 11%; W. 1154 
Sanguine and white chalk on grey paper. Signed, lower right-hand 
corner, Fois Boucher. 

ea [SEE ILLUSTRATION] 


a SPE RN SY 


6 PORTRAIT OF MADAME DE POMPADOUR 


An unusually fine preliminary study similar to the head in Boucher’s 
seated portrait of Madame de Pompadour in the Edinburgh Galleries, 
) varying slightly from the finished painting inasmuch as it is shown 
») elevated and more turned aside; also the encircling neck riband is not 
© indicated, though the likeness itself is a positive one and displays the 
artist’s delicacy of touch and refinement of manner. 
Transferred from the artist’s primary chalk sketch, possibly in order 
to assist an engraver or to serve for some other picture. Impressions 
in reverse are secured by rubbing from the original drawings, produc- 
ing a resultant effect of daintiness and aesthetic elegance. 
H. 854; W. 7 
Sanguine (Transfer in reverse). | 
65 


Os, 


207 A SLEEPING INFANT 


=. 


208 


the little towzeled head and chubby features in conjunction with tI 


209 


210 


211 


An extremely natural study of a ‘sleeping child, exhibiting all the ¢ a 
pealing characteristics of infancy, drawn in a bold and vigorous sal 
realistic, simple and effective, displaying truth in every my we a | 
83 V4 
Black and white Pike on grey paper. Pion the J. B. de Graaf Col 
tion. q 


A CUPID RECLINING ON A CLOUD 


A winged cupid floating face downward on a rolling bank of clouds 
holding in the right hand a dart and in the other a rose; to the left 
are more of the same flowers strewn on the edge of the undulatir 
mass. Freely drawn with all the dexterous ease of the artist’s manne 


rounded contours of the child’s body exemplify a favorite type | 
Boucher’s decorative conceptions. H. 71%; W. 8 


Black and white chalks, on light brown paper. 


HERCULES AND OMPHALE 


A brilliant and cleverly detailed group design showing Hercules 
seated nearly nude, looking amorously upward at Omphale, holding 
distaff in his right hand and a bobbin in the other. Omphale, possesse 
of his club, resting an encircling arm around his neck, leans lovingl 
upon him, glancing downward with an expression of pleasure, Cupic 
meanwhile, archly aiming an arrow at her lover’s heart. Splendidh 
massed, the relation of the figures to the subject harmoniously 
arranged and drawn with a masterly touch, the superb handling ¢ 
the shadows and reflected lights being especiallly noticeable. ¥ 

H. ‘714; W. 5Y 
Pen and ink, and wash. Sepia. y 


THE SLEEPING SHEPHERDESS 


A delightful composition, spiritedly sketched, of a recumbent femal 
figure, partly exposed, asleep on a grassy bank fringed with rushes ani 
undergrowth, in a secluded dell amid the tree trunks seen dim in th 
shadowy distance. Alongside lie two of her flock, and above then 
appear the head and shoulders of a rustic swain peeping through 

intervening foliage, which he is thrusting aside. A vigorously draw 
and representative example of the idyllic pastors so eed fre 
quent in this artist’s productions.  H. 934; W ¢ 


Sanguine and white chalk on blue-grey paper. 


A HEAD OF WOMAN 


An expressive study of a woman’s head, partly covered by a flowil 
drapery, the face indicating grief and sorrow. Remarkably we 
drawn, displaying sincere feeling; the whole rendered in a deft manne 
with broad and simple technique. Differing in sentiment frot 
Boucher’s accepted ideals, this drawing is interesting as an expositio 
of the artist’s range of types. H. 43%; W. 48 


Sauguine. 


oie a “ae 


66 


pene 


» 7 

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PZ 

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2 THE INFANT SAINT JOHN THE BAPTIST 


An early study of a child, bearing on the left shoulder, from which a 
_ skin is pendant, a cross with a streamer entwined, on which are the 
letters, A.G. (probably the commencement of the words Agnus Dei). 
| ‘ _Evidently drawn previous to the development of the artist’s freer and 
iP d ~broader manner, yet showing the main characteristics underlying 
his later work. The treatment though academic is extremely true to 
s nature, displaying graceful simplicity of line and a suns sense of 
anatomical perception. H. 734; W. 61% 


— Sanguine. Signed, F. Boucher, originally on reverse of mount. 


| 18 STUDY OF A HAND 
" iP _ An exceptional drawing executed with such fidelity and detail as to 
Yo Phe more of a portrait than a study; the exactitude and finish are 
; be. I nusual. The shapely, taper fingers and the palpable quality of the 
i ” texture and roundness of the hand demonstrate a masterly knowledge; 
for it is an accepted fact that a perfectly drawn hand is extremely rare. 
7 H. 714; W. 10 
"Sepia chalk. Watermark, a bunch of grapes, within a crowned and 
&3 ornamental escutcheon. 


eee; 


§ B, 


Isaac Briot 
Paris 1 585-1 670 


_ This drawing, evidently made for reproduction by engraving, is 
_ marked by the stylus used in transference to the copperplate. 
1, - Isaac Briot was well known as an engraver, specializing in religious 
‘e fice title pages, portraits, etc., his work achieving a certain 
— amount of popularity in his day. H. 12; W. 8% 
Sanguine and wash. Sanguine. Watermark, a diemond-shiaped. arrange- 
ment of small circles surmounting the letters S.R. above a half loop. 


Jacques Callot 
Nancy 1549-1635 

15 THE HORSEMEN 
_ Acharminglittledrawing of two horsemen in jack-bootsand plumed hats; 
' one bearing an arquebus slung to his saddle, a dog trotting beside the 
) well-groomed horses with plaited manes, exhibiting all this clever art- 
~ ist’s rare and peculiar method of composition. The fidelity of detail 
- is particularly noticeable, the equine action being especially well 
, rendered, and the precision of the accoutrements and habits indicates 
y.@ a typically faithful exposition of the men and manners of his time. 
Jacques Callot studied in Rome under Guilio Parigii, but after essay- 
ing engraving soon abandoned the burin for the point. Later, settling 
in Paris, he rose to high favor at the court of Louis XIII, who com- 

- missioned him to design and reproduce the principal battles and sleges 
of the French Army. His productions evince an extraordinary fertil- 
rp ity of invention and exhibit a most surprising variety of style, his 

most meritorious efforts being those in which he has confined himself 
to very small figures. Bryan observes, ““The drawings of Callot are 
extremely admired and possess even more spirit than his prints.” 

H. 354; W. 234 

Pen and ink. Sepia. Signed, lower left-hand corner, J. Callot. 


67 


Nee 


) 


C= 


216 


217 


218 


Charles Chasselat 
Paris 1782-1843 


FULL-LENGTH PORTRAIT OF LOUIS XVIII 


A delicately drawn miniature portrait of King Louis X VIII of 
carefully executed for reproduction and subsequently engravell 0) 
Chaillon, with the addition of a processional background and a cu 
tain- draped column, the left hand being raised to the aes: and th 
hat placed in the right one. H. 434; Ww. 31 


Wash. Sepia. 4 


FULL-LENGTH PORTRAIT OF THE DUC DE BERRI 


A carefully executed drawing of the Due de Berri, standing in th 
uniform of the Chasseurs de la Guarde, the left hand on the poe mi 
of his sword and the right pointing; drawn with great delicacy a: 
minute detail. Companion piece to the preceding on H 43%; W. 3 

8» / 


ne ce 


Wash. Sepia. 
Claude Lorraine (Gelee) 
Chamagno 1600. Rome 1682 
THE FORKING ROAD 


A superb example of this great landscape artist’s work. One of t 
many studies from which he evolved his great paintings, er 
parting of the ways from which an abrupt rise is overhung by two 
branching trees, clothed with luxuriant foliage. To the left is a wide 
stretch of rolling, well-wooded country in the midst of which is seen 
a square building with turreted corners; at the right a traveler passing 
the base of the two bulking trees, behind which others form a 
shady mass. This is a veritable nature study and possesses individ= 
ual features that differentiate it from the elaborately composed 
pictures that are the offspring of the artist’s original drawings. Claude 
Lorraine early learnt drawing under the tuition of his elder brothe E 
a wood engraver; and later, at Rome, became a pupil of Tassi, 
eventually coming under the patronage of Cardinal Bentwoglio. — 
Sir J oshua Reynolds, in his “Discourses,”’ observes that Claude Lor 
raine ‘‘was convinced that taking nature as he found it seldom p: M | 
duced beauty. His pictures are a composition of the various draits 
which he had previously made from various beautiful scenes and 
prospects.” 
This drawing possesses an added interest from having been in Wm 
Esdaile’s collection, it being inscribed on the reverse in the lower right 
hand corner, in his own hand, “1824, W. E. ex’d with R. F.,” and on 
the obverse left-hand lower corner, ‘“Ex’d with R. Ford”; Williar 
Esdaile was a noted connoisseur of Claude’s drawings, selecting or y 
the finest examples. H. 1134; W. B% 
Pen and ink, and wash. Sepia. From the Richard Ford and Wilhia: Gi m 
Esdaile Collections. Collector’s mark, W. E.—Fagan, No. 539, at lower 
right-hand corner. ‘There is also another mark stamped in gold, in con 
base, unknown to Fagan. 2 


[SEE ILLUSTRATION] 
68 


CLAUDE LORRAINE 
[NUMBER 218] 


219 AN ITALIAN LANDSCAPE 


1% _A marvelously delicate and exquisite drawing, displaying unprece- 
_ dented finish and clarity combined with simplicity rarely found in 
2 _Claude Lorraine’s drawings. The sense of vast distance and the aerial 

_ perspective are superlative; the composition, the balance and arrange- 
ment of the different planes masterly, producing an effect difficult to 
surpass. H. 434; W.6% 
Pen and ink, and wash. Sepia. Inscribed on reverse in Wm. Esdaile’s 
hand, “‘Fagels Colls. 1799, W. E., and on obverse of mount X Fagel 1799. 
From the Fagel and E'sdatle Collections. Collector’s mark, right-hand 
lower corner, W. H.—Fagan, No. 539. 


Pe eee ee 


a 


oe 


220 AN ITALIAN LANDSCAPE WITH FIGURES 
An interesting drawing, bold and vigorous in treatment, showing a 


_ “square ruined building in the centre and another on a rising ground 
~~ to the left; trees and shrubs are scattered on the undulating ridges 
___and the foreground is occupied by a group of figures in varying atti- 
tudes; two others being perceptible in the shadow of the trees 
__ occupying the central plane. A rapid sketch, but full of natural feeling, 
__well expressed. H. 104%; W. 15% 
Pen and ink and wash. Sepia. From the Antonini and E'sdaile Col- 
ES oe Collector’s mark, in lower right-hand corner, W. E.—Fagan, 
0. 539. 


221 A ROCKY LANDSCAPE 


A well-arranged composition in the foreground of which a muleteer 
with two of his laden. charges kneels, readjusting his foot-gear 
beside a pool; on the further bank of the water are seated two figures 
in conversation; beyond, in the middle ground, are seen others with 
cattle, and springing from this plane is a lofty wooded height, to the 
left of which a distant range of hills is seen. The whole displays a 
__ perceptive sense of chiaroscuro, the drawing carefully executed and 
| 


- 


the masses well handled. H. 1034; W. 81% 


Pen and ink. Sepia. Collector’s mark on right-hand lower side, W. E. 
—Fagan, No. 539. From William Esdaile Collection. 


1 


'222 LANDSCAPE WITH A RUINED CASTLE 


A singularly beautiful drawing of a far-reaching plain, dominated by 
| a dismantled tower. Drawn with wonderful simplicity and poetic 

expression, indicating the ruddy pulsating glow of sunlight commingled 
| with the misty shadows, producing a charm and sweetness impossible 
ral _to gainsay. The delicate aerial rays flood every portion of the scene 
r with a golden lustre, through which the distance appears to float 
like a haunting mirage. It is reasonable to infer that this drawing 
. was made some time during the artist’s visit to Lorraine about 1626. 
| H. 5%; W. 8% 
Pen and ink. Sepia. Wash. India ink. Collector’s mark on right-hand 
center, W.H.—Fagan, No.539. FromWilliam E'sdatle Collection. Water- 
mark, a bell, inscribed on lower portion. 


69 


2238 SKETCH OF AN ITALIAN LANDSCAPE 


_ 22d A ROMAN VILLA 


225 A SYLVAN SCENE WITH DANCING NYMPHS 


fy oe 


Uy fi 


f 
i 


/ 


| 


A spontaneous and clever study of a castle perched on a roc ky, 
verdure clad height, at whose base flows a river, foregrounded by a 
rugged rise, on which is growing a clump of trees. Beyond appears @ 
wood, at the foot of a distant hill, and to the left are two other trees. 
The freedom and rapidity manifested in this sketch demonstrate a 
distinguishing quality of Claude’s later drawings, familiar to student ie. 
of his productions. 4 
This is probably a leaf from one of the artist’s sketch books: “There’s_ 
so much and yet so little in a really artistic drawing, words cann Ot. 
convey that subtle something which is its very essence.” Geo, 
Grahame’s ‘‘Claude Lorraine.” H. 414; W. 634 

Pen and ink. Sepia. On the reverse 1s another landscape sketch an the | 
same medium, as vivid as the first, displaying even more freedom and 
swift appreciation of natural aspects. 


A brilliant little sketch, depicting with animated reality the exteridll | 
of a tree-shaded residence, the most prominent architectural feature 
being a wall fountain whose semi-circular basin occupies most of the 
foreground. The well-ordered perspective and pleasing effects of 
light and shade combined with the spontaneity and unerring | 
verity of drawing make this example of particular eer | 

Ay; W. by Y, : 
Pen and ink, and wash. Sepia. | 


An admirably composed classic landscape with the facades of pillared 
Greek edifices showing through the trees at the right, from which ¢ 
pathway winds through a shaded grove to the picture’s edge. In the 
background, the crest of a hill lifts to the sky and on its summit 4 | 
another group of buildings. At the left a ruined temple, crowning a 
wooded slope, is visible between the trunks of leafy trees, within whose" 
shadow, backgrounded by tangled bushes, stands a pedestaled bust 
garlanded with flowers, before which.a group of sylph-like forms, in 
flowing draperies, with an attendant cupid, are dancing. The mellow 
warmth of the sunshine is sentient in the entire drawing, the 
atmospheric quality constituting its greatest charm. - 
The introduced figures are undoubtedly by another hand, this bein 
the prevalent custom among contemporary By cts artists. 
H. 8%; W. 13 UY 


Pen and ink. Sepia. % 


Charles Nicolas Cochin 
Paris 1715-1790 


226 AN ARMORIAL VIGNETTE | 
i, “ An artistic arrangement of the Coat of Arms of Etienne Francoig 


Duc de Choiseul, Conte d’ Etainville, within an oval escutcheon, on 
which is superimposed a ducal coronet surrounded by the collars of 


70 


__ the Orders of the Golden Fleece and of Saint Louis, displayed upon 
_ amantling; and behind all, rays of glory; the whole resting on a 
decorative base bearing groups of cupids and arms. In the back- 
_ ground, at the right, are tall leafy trees, and on the opposite side, two- 
| z more cupids floating on clouds. Evidently drawn for reproduction 
_ by engraving. 

Charles Nicolas Cochin, pupil of his father, Nicolas, designed and 
: engraved an immense number of plates, including frontispieces, 

_ vignettes and other ornamental works, with so much taste and judg- 
ment as to have established an enviable reputation. H.414;W.6% 


Pen and ink, and wash. Purple. Watermark, F. P. 


Jacques Courtois (Il Borgognone) 
St. Hippolyte 1621. Rome 1676 


CAVALRY SKIRMISH 


7 dashing sketch drawn in a spirited manner, showing seven horses 
Bs B cad their riders in forceful attitudes of combat: replete with action 
— and an accurate knowledge of equine anatomy. Displaying the direct- 
ness and simplicity of execution that could only be acquired by actual 
contact. 
— Courtois, or Cortese, as he was sometimes called, nicknamed I] 
E Borgognone, early went to Milan, there forming an intimacy with a 
- French officer who prevailed on him to enter the Army, in which he 
served for some time, sketching the marches, attacks and skirmishes 
_ of which he was a witness. After leaving the service, he devoted him- 
self to this branch of art, which he carried to a perfection previously 
- unattempted. H. 74%; W. 12 
Sanguine. Watermark, a head in profile above two conjoined circles, 
within an escutcheon, supported by two lions guardant, crested with 
another head. 


— ne 


Antoine Coypel 
Paris 1661-1722 


28 ALEXANDER AND THE FAMILY OF DARIUS 


An interesting and well-drawn scene, within an ornamental form, 
robably for a decorative panel, depicting Alexander, armored and 
~_ helmeted, advancing and addressing the suppliant figures of Darius’ 
~ mother, wife and children. Distributed around are groups of reclining 
- soldiers and the pitched tents of an encampment, while beyond an 
arched bridge spanning the river are seen the buildings of a fortified 
city, backgrounded by distant mountains. A remarkably fine com- 
position, pictorially conceived and technically welll handled; the 
draperies and details of costume rendered with accuracy. 
Antoine Coypel was a pupil of his father, Noel, and at an early age 
was appointed director of the French Academy at Rome. Returning 
to Paris, he became an Academician when only twenty years old. 
His fertility of genius caused him to be much employed in decorating 
the Royal Palaces, and in 1715 he was constituted First Painter to 
the King. H. 105%; W. 15% 
Wash. India ink, heightened with white on light grey paper. Collector’s 
mark, lower right-hand corner, Fagan, No. 89. From the collection of 
Count Gellozi, Turin. 


(a 


229 MARY MAGDALENE AT THE FEET OF JESUS 


230 


232 


A fine composition, simple and effective in its arrangement, showing 
Mary Magdalene, ushered by Martha, kneeling at the feet of Christ, 
who is seated near a column beneath a drapery, holding out his hand 
to the penitent; behind him stand two of his disciples. ’ 


H. 84%; W. 13 
Sanguine, on light buff paper. On the reverse is inscribed “Kaye Dow- 
land Coll., 1862.”’ From the Kaye Dowland Collection. Watermark, 
a figure of a dwarf. 


Eugene Delacroix 
Charenton 1798. Paris 1863 


STUDY OF A COSTUME 


A rapidly sketched note of costume detail, utilized in the “Scene from 1 
the Massacre of Scio,” painted in 1824, and now in the Louvre. 
Drawn with vigorous swiftness and characteristic indication of the 
salient points of decorative embellishment, even the scarcely defined 
hands possessing an expressive quality. 

Eugene Delacroix was a pupil of Guerin and ranks as one of the 
creators of the modern school of French art, which struggled for years 
against the taste for the pseudo-classic style, headed by David. It was 
not until Delacroix’s return from Spain that his reputation was estab- 
lished as one of the most original painters of the French School and 
one of its most powerful colorists. H. 534; W. 44% 


Lead pencil. Collector’s mark, lower right-hand corner, E. D. —Fagam 
159. From the Bugene Delacrois Sale. 


Paul Delaroche 
Paris 1797-1856 


THE DESCENT OF THE HOLY SPIRIT 


A design for a decoration of an ecclesiastical nature, exhibiting a 
bishop in a cope elevating a goblet containing sacramental wine, 
above which descends a nimbused glory. In the foreground kneel 
priests and acolytes, and at the right is a canopy, held aloft by bearers; 
in the background is seen a multitude and beyond them are the fronts 
of palatial edifices. The composition is drawn with much feeling, due 
prominence being given to the principal figures. 

Delaroche was a pupil of Baron Gros and specialized in historielt 
subjects and portraiture. His decorative painting was also extremely 
good, the ‘““Hemicycle,” in the Ecole des Beaux Arts, in which he held 
a professional chair, being much esteemed.: H. 754; W. 9% 
Pen and ink, sepia, washed in bluish tones. From the Money and Mar- 
tin Collections. 


Pierre Claude Francois Delorme 
Paris 1783-1859 


| 
STUDY FOR A DECORATIVE PANEL | 
A preliminary color sketch of a nearly nude female figure with a cupid 
beside her, a dog on her lap and amatory doves at her feet, recline 
beneath a tree: while at the left, a chariot is seen descending from | 


72 | 


o 


sky, in which floats another cupid bearing a torch. An interesting 
composition, with the colors laid in with considerable freedom. 
' ___-Delorme, a pupil of Girodet, besides painting historical subjects and 
portraits, did much decorative work for churches in Paris, as well as 
for the interiors of residences of the nobility. H. 74%; W. 8% 


Water color, over pen and ink, sepia. 


Gilles Demarteau 
Liege 1729. Paris 1776 


i 
es) 
i a 
4 


ry 
i 
t 
l 


233 PORTRAIT OF CHARLES I AFTER VANDYCK 


—A simple and effective sketch of the Vandyck portrait of Charles I 
of England, probably executed for reproduction by engraving. 
Demarteau, an extremely skillful engraver, is credited with the inven- 
tion of that style of engraving known as ‘‘a Ja maniere de crayon,” 
which reproduced with fidelity the simulation of chalk drawings, 

: _ principally after Boucher, Huet, Cochin and other well-known artists 

_ of the period. They were admirably effective and were in great 

' —S demand. He became a member of the Academy, receiving also a pen- 

ae sion from the King, Louis XV. _ H. 11%; W. 75% 

_  ~Wash. Sepia, on reddish-tinted paper. 


Jules Desandré 
Paris 


234 A MILKMAID CHURNING 


clever and delicate drawing of a peasant girl making butter, in 
_4,~ which she is assisted by a little child; beside her on a heap of straw a 
7 lad is reclining, fondling a pet sheep; backgrounded by foliage and a 
i stone wall near which stands a kennel. Delightfully drawn with fine 
' _ natural effect. 

i Desandré, whose birth and death are unrecorded, was a pupil of 
Girordet, painting genre subjects and landscape, principally in water 
colors. He was an exhibitor at the Paris Academy for many pea 


b 


Wi 


Lead pencil, heightened with white, on buff paper. Signed, lower right- 
hand corner, Jules Desandré. : 


| 235 A PASTORAL GROUP 


i An interesting and well-ordered delineation of a cloaked and hooded 
Be iittle maiden, posed with her hand on the head of a dog gazing up at 

her; alongside of her are two cows, one standing and the other lying 
down. Arranged for a sketch which an artist in the background, 
admiringly watched by two boys, is making. Cleverly drawn, with 


. 

‘i great deftness and clarity. H. 5; W.8 
f) Lead pencil, heightened with white, on buff paper. Signed, lower right- 
f hand corner, Jules Desandré. 


73 


236 


/ as 


237 


f es 


Alexandre Francois Desportes 
Champigneulle 1661. Paris 1743 


DIANA RESTING 


A classically draped figure of Diana, seated on a rock beneath a tree, 
a hound at her side and holding aloft in her right hand an arrow; a 
quiverful of the same and a bow lying beside her; in the background, 
a suggestion of foliage. Laid in with broad and decisive touch, the 
subject well disposed in a graceful attitude. 
Desportes studied under Nicasius and in 1695 traveled to Poland, 
becoming Court Painter to King John Sobieski. Returning to Pa 
he was admitted to the Academy and appointed painter. of vennerie 
by Louis XIV, and later commissioned to execute for the Gobelins 
factory eight large compositions of hunting subjects. His quality of 
disposition and arrangement, the purity of his drawing and the har- 
mony of his painting give him a place among the masters of the aa r 


18th century. H. 834; W 
Pen and ink, and wash, sepia, heightened with white. 


ie 
a 


Gaspar Dughet (Poussin) | 
Rome 1613-1675 4, 
ITALIAN LANDSCAPE WITH CASTLE 4 


A fine composition, showing an extensive range of buildings, the right : 
wing being a castellated tower; situated on a verdure-clad height, with 
an ascending roadway leading to it from the stream whereon a boat 
floats. On the opposite side of the water is a rambling structure in 
ruins, and on a distant hill is visible yet another. The whole admirably © 
depicted, the architectural masses correctly defined, the distribution 
of light and shade excellent and the technique of a high order. ; 
Dughet, scion of a French family resident in Rome, adopted the name 
of his brother-in-law, Nicolas Poussin, and under his tuition Gaspar 
became a celebrated landscape painter. His touch was firm and 
vigorous and he combined with facility of execution a faculty of 
selecting from nature the most artistic material eget ; 
oe 
Pen and ink, and wash, sepia, touched with india ink. 


Berteaux Jean Duplessis 
Paris 1747-18138 
THE LOCKSMITH 


A delightful little drawing, well detailed, Be es the interior 7 
a locksmith’s workshop, in which a customer appears holding a bunch 
of keys in his hand, addressing the master engaged in filing a key. 
At the bench is a workman busy at a vise, while at the opposite side, 
near the forge, another hand is hammering the hot iron into shape.” 

Nicely drawn, and replete with animation and natural feeling. | 
Duplessis was a prolific draughtsman and engraver, Rigal mentioning 
no less than 650 plates by him. This drawing is one of the series 
designed and executed by this artist and published under the title of 
“Recueil de 100 sujets de divers genres, représentant toutes sortes 
d’ouvriers occupés de leur travaux.” BoB awe 4% 


Wash. India ink. 
74 


TT Oe 


| 


JEAN HONORE FRAGONARD 
NUMBER 239] 


* 


f Jean Honore Fragonard 
Grasse 1732. Paris 1806 


39. THE DUCK POND 


A remarkably complete and detailed drawing of an Italian farm yard, 
__ the principal feature of which is the pond in the foreground, with ducks 
_ disporting on it. At the extreme left, by the sedgy banks of the pool, . 
is a woman, with a child peeping from behind her skirts, engaged in 
hanging out washing; behind her rise richly foliaged trees, delineated 
ith due regard to the varying species, surrounding the roof of the 
farm house, from whose chimney floats a thin haze of smoke. Near the 
_ centre is a thatched shelter, erected against a stone wall with a rustic 
gate, and alongside are heaped agricultural implements. The pictur- 
esque ensemble is charming in its delicacy and finish. 
_ Fragonard, so well known asa painter of historical, mythological and 
_ festive subjects, was originally a pupil of Chardin, later studying 
under Boucher. His first essays were under that artist’s protection, 
whom he assisted in executing designs for tapestries for the Gobelins 
_ factory. Later he made an extensive tour of Italy with Hubert Robert 
and his intimate friend, the Abbé de St. Non, when he produced many 
of the drawings for the ‘Voyage Pittoresque,’”’ one of the finest 
publications of its time. On his return he established himself in Paris, 
meeting with considerable success, his work being held in high esteem. 
_ He may be deemed the last of the great French decorative painters of 
the 18th Century. 
___ Fragonard’s water color drawings are characterized by a graceful and 
light touch and display a delightful feeling for the charm and color 
_ of open air. | H. 84%; W. 15 


Wash. Sepia. Signed (almost indistinguishably), in lower left-hand 
corner, Fragonard. 


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40 THE ADORATION OF THE SHEPHERDS 


A fine composition, splendidly grouped, showing the Virgin Mary 
cloaked and seated on a rough bench holding in her lap the infant 

_», Christ, who is drawn in a delightful pose of babyhood. Above them 

“— hovers, guardian-like, the figure of Joseph, arms outstretched, grasping 
a staff; in front, kneel two smiling shepherds; one, leaf-crowned and 
holding a dove, endeavors to attract the attention of the child; the 
other, a cudgel leaning on his shoulder, with a hobbled lamb lying in 
front and his dog beside him, stretches forth his hands in admiring 
wonder; a third, leaning forward playing softly on a pipe, bears on 
his back a basket containing an offering of fowls. Framed in the door- 
way another approaches, driving before him a sheep; while at the 
extreme left are seen an ass and a recumbent ox. 
This drawing is characterized by an extreme breadth and simplicity 
of execution, good anatomical perception and vivacious manner. 
The sweet simplicity of the Holy Family is enhanced by the contrasting 
rusticity of the hinds. H. 1154;W. 165% 
Wash. Sepia. 


75 


241 RUINS OF THE TEMPLE OF VESTA AT TIVOLI 


An interesting sketch of a circular temple surrounded by columns, | 

_ below which, in the shadow of a wall, is an old well with two Italia n 

peasant women drawing water. At the right of the main edifice is 

= an ornate stone archway and behind all several other buildings. This 

7 /  — isan instructive demonstration of the artist’s method; the simple, yet 
r dea effective, impressionism shown in the suggestive treatment of the 
bushes and the flat, broad manner of laying in the shadows ay 

careful study and keen perception. 

Another view of the same group of buildings, but drawn from a 

different angle, was in the collection Beurdeley. H. 12; W. 9 (oval) 


Wash. Sepia. 


242 TOBIAS HEALING HIS FATHER 


An expressive composition in which the participants are well arranged, 
depicting the young Tobias applying to his blind father’s eyes the 
miraculous ointment. The centralized figure of the afflicted Tobia 
receiving the ministrations of his son, beside whom stands the Ange ie 
_-Raphael, is balanced by the seated figure of his wife, gazing hopefully 

O ~ onthe scene, with her attendants evincing surprise and pleasure, while 
Sara, her dau ghter-in-law, is seen approaching the Set 3 


Wash. Sepia. From the Lane Collection. H. 1144; W. 16% 


248 LANDSCAPE WITH TREES | q 


_ Aremarkably fine drawing of an Italian scene, in which the representa- 

- fd tion of the trees in the foreground is noticeable for the beauty of the 
/ — rugged branching trunks and well-defined masses of foliage. The 
/ swirling rapids of the river occupy the centre, and on the rocky bank 
/ are seen two figures; while beyond, the shores show clumps of verdure, 
with a ruined castle dimly visible in the distance. A fine perception 

of atmospheric effect and aerial perspective is demonstrated in this 
drawing and the infiltration of light into the profusion of the leaves i is | 
faithfully reproduced. H. 834; W. 11 


Watermark, a crowned escutcheon with the letters Y.D.L. beneath. 


244 JUDITH AND HOLOFERNES 4 


_ A preliminary study for the decapitation of Holofernes, who is seen | 
“ lying prone in drunken stupor on a couch within a tent, with J udith, 
“partly kneeling, drawing his sword from its scabbard; while in the 
ackground her attendant maid hovers fearful of interruption. Vivid 
in expression, washed in with vigorous and segs touch. 
H. 93%; W. 11% 
Wash. Sepia, heightened with white. Watermark, a a eiades within a 
crowned escutcheon. | 


245 A RUINED CASTLE NEAR MOUNT VESUVIUS 
//._~ An exquisite drawing of a ruined fortified castle, with dismantled, 
Se ae turreted towers topped with verdure and surrounded by leafy trees, 

standing on a rocky eminence, overlooking a river which sweeps its 
base. To the left, a wooded copse is seen and a ragged tree trunk on | 


76 


the bank silhouettes against it; in the right foreground are boulders 
and herbage, beyond which is a tree clad rise and, looming high over 
all, the lofty crater of Vesuvius, with its lava defaced slopes, defined 
against the mellow sky. 

A composition of great brilliancy and depth of feeling, exceptionally 
well finished, and artistically executed with fidelity to nature. 


Wash. Sepia. From the Lane Collection. : H. 8; W. 11 


246 AN ALLEGORICAL GROUP 


An allegorical conception exhibiting a personage, in classic costume, 
enthroned in the centre between two female figures; one, with scales 
0 and sword, representing Justice, trampling underfoot the hydra- 
/@ headed snake of slander; the other, standing beside a tree holding 
erect a naked blade before an altar on which is an urn blazing with the 
fire of virtue; while from the clouds overhead two cupids descend, 
holding in each hand wreaths of laurel. The central figure appears to 
be lifting a phial to her mouth, possibly with suicidal intent. The dis- 
position of the characters is animated, and the drawing simply and 
freely handled. H. 11144; W. 83% 
Black chalk heightened with white on blue-grey paper. On the reverse 
as a rough study of the bust and more detailed ones of the hands and arms 

of the principal figure. From the Lane Collection. 


247 AN ITALIAN LANDSCAPE WITH FIGURES 


A delightful drawing of a flowing stream gently cascading in the fore- 
ground, on the boulder strewn bank of which are seen three figures, 
_ sitting and lying at ease; while two others, the man standing and the 
/) -woman kneeling, are spreading linen to bleach. Two slender trees lift 
their foliated heads beside a rock on the extreme right, and on the 
opposite shelving slope appears the edge of a wood; in the dim dis- 
tance are rising verdure-clad heights whose misty summits are crowned 
by ruined edifices. A picturesque charm overspreads the entire scene, 
accentuated by the delicacy and fidelity to nature displayed in the 
rendering of the different species of trees and bushes. H. 614; W. 9 
Wash. Sepia. 


248 THE ADORATION OF THE SHEPHERDS 


| A swiftly sketched preliminary conception of a seated figure of 
Mary holding the infant Jesus on her lap while behind her stands 

/ ~Joseph. Above the group are three cherubs and an angel with floating 
drapery; to the right are several kneeling shepherds. The most nota- 
ble feature is the effect of mysterious light which seems to emanate 
from the Holy Child, illuminating with a dim radiance the surrounding 
forms. H. 15%; W. 138% 
Charcoal, heightened with white, on blue-grey paper. 


249 A MOTHER AND BABE 


A charming drawing of a young mother watching with maternal care 
f over a sleeping infant lying cradled beside her, lifting gently the 
/@- drapery that screens the form of the child, which appears bathed in 
soft effulgent light. The penetrative discernment of type and senti- 
ment, the vigorous technical handling of the subject are most con- 
vincing and the natural attitudes and expression are admirable. 
Sanguine. H. 9; W. 73% 
17 


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250 CHRIST DERIDED 


_ soldiers. H. 16144; W. 1134 


/ 252 


. lad, while a peasant woman with a child on her arm, carrying a bundle, 


‘their glistening coats particularly well executed. 


Martin Freminet 
Paris 1567-1619 


An ambitious and involved composition, in which Christ is seen on ¢ 
balcony in the upper centre, flanked by his captors, while below a surg- . 
ing mass stands listening to a priest haranguing the throng; the fore 
and middle ground is occupied by a multitude of men, women, 
children and soldiers, all in animated movement, gesticulating and | 
pointing. The architectural accessories are correct and the figures | 
drawn with a slight exaggeration of anatomical expression in a careful 
and detailed manner, indicating the influence of Parmigiano’s style. 
Freminet, who was a pupil of his father, a designer of tapestry, studied 
about fifteen years in Rome and Venice. On his return to France, he 
was named First Painter to King Henri IV, and was employed i in 
the decoration of the chapel at Fontainebleau, which he finished under 
the protection of Louis XIII, that monarch creating him a Knight of | 
the Order of St. Michael. His productions display good knowledge of | 
architectural perspective and of anatomy, though his desire to copy | 
Michelangelo frequently led him into ae 

H. 1034; W. 1434 I 


Wash. Sepia, heightened with white. Signed, near lower left-hand centre, 
Freminet. Collector’s mark in lower right-hand corner, J. D.—Fagan, 
No. 293. From the Jules Dupan Collection. Watermark, Crossed” | 
Keys. } 


CHRIST BEFORE PILATE 


A well-designed composition, showing the Savior, bound and led by 

armed legionaries before the Roman pro-consul, who sits enthroned | 
beneath an imposing canopy, delivering judgment. At his right are 
two priests and a lictor demanding condemnation; on the other side, 
an attendant stands holding the fasces, and in the foreground at the } 
left are protesting proselytes; while in front of them are two warriors, | 
one of whom carries a banner, and two other men with bundles of | 
switches, the foremost binding the withes together. A curious anom- 
aly is noticeable in the contemporary accoutrements of two of the: 


Wash. Sepia, heightened with white. Collector's mark, lower right-hand | 
corner, C. G., coronetied, Fagan, No. 89. From the Count Gelozzi 
Collection. : | : 
Jean Louis André Theodore Gericault 
Rouen 1791. Paris 1824 


LEADING HORSES TO WATER | 
A spirited drawing of two horses, one bearing as rider a bales aa : 


stands watching the splendid animals. Cleverly drawn, the horses with | 


Gericault studied under Vernet and Guerin and his “Raft of the | 
Medusa,” now in the Louvre, when exhibited in the Salon of 1819, 
evoked a storm of criticism. Its appearance marked the commence- | 
ment of the struggle between the Classic and Romantic Schools in — 
France. Gericault spent some time in England, devoting his attention — | 
to the then new art of lithography, producing a pert of successful 


specimens. H..344; W. ote 
78 


; 
‘ Jeai: Léon Gerome 
é Vesoul 1824. Paris 1904 
258 A MUSSULMAN 
A clever drawing of a Hadji indolently seated on a divan, listlessly 
holding to his lips the mouthpiece of an ornate narghilé, while 
_ fingering the beads he holds in his left hand. Beside the graceful 
/ vessel of the water pipe lie his slippers; overhead a small oriental 
, ~ lantern hangs suspended from a bracket and behind him is a suggestion 
' Of the lattice of the harem. A piece of brilliant and effective coloring, 
uniting a capable dexterity with a talented faculty of characterization. 

_ Gerome, a painter of historical subjects and a sculptor of no mean 
capacity, was a pupil of Delaroche. After completing his studies he 
traveled extensively, visiting Italy, Turkey, Egypt and the Danubian 
Principalities, bringing back numerous sketches. On his return he 
was created an officer of the Legion d’Honneur and was made a mem- 
ber of the Institute, subsequently becoming professor of the Ecole des: 
Beaux Arts. His latter years were devoted to sculpture, in which 
branch he developed great proficiency. HeLO ee We T. 

' Water color, on light brown paper. 


254 AN EGYPTIAN ITINERANT MERCHANT 


A skillful and adroit drawing, displaying an understanding of type 
as depicted in the attitude and general disposition of this trader. The 
consonance and vivacity of the colors, the precision of detail evident, 
~ as he stands, bearded and elaborately turbaned, calling his wares for 
- the benefit of the passersby; holding up amber mouthpieces, 
cumbered with turban-cloths, burnouses, and other gaudy habiliments; 
the embroidered sash encircling his portly waist bristling with richly 
chased weapons, makes of this a striking and picturesque figure, from 
the scarlet slippered feet to the harmoniously patterned headdress. 
Water color, on light brown paper. H. 10; W. 7 


255 A CAIRENE PORTER 


A fine drawing, revealing in the stooping pose and deliberate action 
the indication of burdening weight. The dexterity exhibited in the 
handling of the washes, the cleverness displayed in the manipulation 

) — of the lights, the harmonious coloration and the expression on the 
swarthy face are admirable. The ridiculous incongruity of the somber, 
piratical-looking oriental bearer and the up-to-date leather trunk, hat 
box and carpet-bag give a whimsical aspect to the picture. H.10; W.7 
Water color, on light brown paper. 


Claude Gillot 
Langres 1678. Paris 1722 


256 STUDY OF A ROMAN SOLDIER 


A careful sketch of a warrior with plumed helmet bearing on his arm 
/ 7 a shield. Drawn with precision of anatomical detail, simply and 
effectively outlined; evidently a costume study for a subsequent work. 
Gillot, who chiefly excelled in designing fauns, satyrs, grotesques and 


79 


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_ His works show a lively sense of imagination, combined with great 


207 


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258 


209 


occasionally historical subjects, studied under J. B. Corneille, later 
becoming a member of the Academy. Antoine Watteau was his pupil, 
and it is said that, finding himself surpassed by his scholar, he aban- 
doned the brush, ‘devoting all his time to designing and engraving. 


originality of composition. H. 514; W. 138 
Pen and ink and wash. India ink. | 


REAR VIEW OF A WARRIOR 


A simple, but effective, study of the back view of a soldier in Roman 
costume; a well- detailed sketch and, like the beet number, » 
probably drawn for reference. 4%: W. 2% 


Pen and ink and wash. India ink. 


Hubert Francois Bourguignon Gravelot 
Paris 1699-1773 


CALYPSO MOURNING THE DEPARTURE OF ULYSSES 


A charmingly composed drawing of Calypso, partly draped, hastening ~ 
along the seashore, tearing her hair and biting her fingers in despair, ~ 
as she watches the vessel which is bearing away her lover; behind her — 
is a decorated tent set beside a tree near an overhanging rock, with the | 
precipitous coast stretching to the horizon. Gravelot is best imown as. 
an engraver, though he painted considerably before taking up that 
branch of art. | 
Spending many years in England, he was for a while a pupil of Gains >| 
borough, his productions including many caricatures, besides designs — 
for ornaments, drawings of ancient buildings, etc. He also engraved | 
the plates for Theobald’s “Shakespere,” from his own HB, WO 4a 


Pen and ink and wash, india ink, heightened with white. 


Jean Baptiste Greuze 
Tournus 1725. Paris 1805 


OST EET ens ot 


LES CADEAUX 


A magnificent example of Greuze’s water color, of remarkable size 
and in superb condition, illustrating La Féte du Grandpére, in which 
the white-haired head of the family stands, overcome with grateful 
emotion, surrounded by his affectionate offspring bearing gifts. Sup- } 
ported by his stalwart son, he holds in outstretched hands a garland of 
roses, a little girl at his knee presenting a pretty vase, while in front, } 
a smiling boy, his hat filled with roses, proudly carries his grand- 
father’s staff. On the left, his daughter raises her child, whose chubby > 
arms encircle his neck for a birthday kiss, and at the side another son, | 
glancing approvingly over his shoulder, is clearing the festive table. 
Behind, gazing in rapt adoration, the grandmother leans lovingly on 
her daughter, who with hands clasped on her bosom beams devotedly 
on the joyful scene. In the shadow beyond is seen a doorway, over 
which a drapery hangs suspended from a tree and in the distance is 
a suggestion of a house embowered in foliage. 


80 


i . 

_ A feeling of genuine sentiment is displayed in this splendid drawing, 
_ the harmony of coloring, the sureness of touch, visible in every stroke 
_ of the brush; the virility of the pen work is so remarkable that in 
_ combination with the well-defined relation of the figures to one another 


: it forms one of the most fascinating specimens of this artist’s achieve- 


ments. 

_ Jean Baptiste Greuze studied under Grandon and has been styled the 
_ painter of the bourgeoisie, his happiest efforts being taken from the 
_ life of the middle classes. Charming as his works are they show that he, 
_ like most of his contemporaries, was influenced by the pursuit of mere 
_ prettiness. Still Greuze merits recognition for his efforts towards a 
_ more natural style than the sham pastorals with which the more 
_ fashionable painters were overwhelming French art. 

i Water color, outlined in pen and india ink. _ H. 204; W. 14% 


[SEE FRONTISPIECE] 


0 THE FLORAL OFFERING 


_ A delightfully composed rural scene, showing a cottage garden in 
4) which stands a comely and buxom country maiden with her dog beside 
— her, naively presenting a nosegay to a bourgeois couple resting in a 
- rustic summer-house embowered in foliage, the lady graciously 
accepting the proffered posies. Beyond, the roof of the humble abode 
rears itself above the luxuriant verdure, and in the foreground flower- 
_ pots and other accessories lie scattered. The sketch is impulsively 
_ drawn, with great vigor and freedom, displaying simple, natural 
sentiment in pose and action. H. 7; W. 9% 
Pen and ink and wash, india ink. 


jacques Guay 
Marseilles 1715. Paris 1787 


1 TWO PORTRAIT DESIGNS FOR CAMEO ENGRAVING 


_ Two carefully drawn designs in ovals; the upper one containing two 
| adjoining portraits, the more prominent being that of Louis XVI of 
France, arrayed as Dauphin in decorative armor, superimposed on 
the adjacent profile of his bride, Marie Antoinette of Austria. Below 
the busts is an emblematical dolphin, the tail curved up beside the 
_ prince. The inscription above reads, ‘‘Portraits de M. le Dauphin et 
_ de Made. la Dauphine.” 
Below, in another oval, is a likeness of Charles Christian Joseph, the 
last King of Poland, in classical costume, the head wreathed with 
laurel. These are interesting as original contemporary portraits. 
Underneath are the words, ‘“‘Portrait du Roy de Pologne Electeur 
3 Saxe,” and in the lower left-hand corner, ‘‘graves sur Pierres par 
vay.’ 
Becues Guay studied drawing under Boucher and was made an 
cademician in 1748; this artist was favored by Madame de Pom- 
padour, who obtained for him the post of engraver in cameo to the 
King, Louis XV. H. 9; W. 63% 
Pen and ink, sepia. 


81 


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262 STUDY OF A SANS-CULOTTE OFFICER 


263 ST. VINCENT DE PAUL IN PRISON 


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, 264 


265 SKETCH OF TREES AT THE WATER’S EDGE 


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Baron Pierre Narcisse Guerin 
Paris 1774. Rome 1833 


A drawing of an insurgent officer, of the French revolutionary perio 
marching sword in hand, wearing a bounet rouge, decorated witll 
national cockade, a redingote and top boots, and across his body | 
tricolor sash. Below are the words “Etude pour Vendemiaire,”’ an 
“Officer d’Insurgentes.”’ 
Guerin, a pupil of Regnault, was appointed director of the Frene 

School at Rome, and on his return to France received the title 
Baron. Though his pictures were held in high esteem, his later work 
appear theatrical in manner; this may have been caused by his ct 
tom of sketching the actors of the Theatre Francaise. 


Black chalk. = H. 844; W. 44 
- Hector Guiot q 
Langres 1825-1903 


A remarkably clever transcript of the picture at Dijon by J acqu 
Joseph Lecurieux, ‘St.Vincent de Paul prenant les fers d’un forcat 
beautifully copied in representative detail, with unusual percepti¢ 
and technique. Guiot studied under Ziegler and was a frequet 
exhibitor at the Salon, principally of portraits in pastel and landscapi 
both in pure water color and gouache. There are several large examples 

of his work in the Luxembourg galleries. H. 1134; W. 7% 


Water color, on Silke brown paper. Signed, lower right-hand corner 
H. Guiot. 4 


Henri Harpignies 
Valenciennes 1819. Paris 1916 


STUDY OF A SNOW-CLAD TREE 


A talented drawing, bold and sure, the effective contrasts displayix 
a sincere study of nature. Truthful and full of grace, facile in execu: 
tion, with a picturesque reality in the massive rugged trunk and I of 
intertwined branches clothed in luxuriant foliage. 

Harpignies began life as a commercial traveler, but his taste fora 
decided him to study it. Receiving instruction from Achard, he soon | 
displayed marked personality and great force of expression, attainit in 
an individual position as a landscape artist. His work was much 
appreciated and he received many honorable ane ae Ty ‘| 1 
Pen and ink, sepia. Signed and dated, lower centre, H. H. Decem 1 859. 


An interesting and facile study of a mirroring pool on whose me - 
stands a clump of trees covered with masses of foliage; the vigoro 
branches forming fantastic outlines stretching towards the sky, wi th 
a tangled maze of bush and bramble beneath. At the right is anothel 
group of vegetation and in the background a vast rugged plain beyond 
which rise the serrated crests of distant hills. The treatment of this 
sketch is remarkable for perfection and facility of execution. 


Pen and ink, sepia. H. 4; 
82 


- * ise | Jean Baptiste Huet 
ia Paris 1745-1811 
GOING TO MARKET 


An exceptionally fine example of this artist’s work, exhibiting all the 


_ so charming. The sure-footed ass with its lovely barefooted burden 
_ traverses the inclined crossing leading to the highway, guided by the 
_ shepherd, who, looking back, instructs his aides in the herding of the 
- sheep and cattle following in his wake. A bearded goat marches with 
dignity at the head of the troupe, the dog meanwhile stopping to 
~ drink at an adjacent pool. Behind the flock massive verdure-covered 
rocks in fantastic shapes rise in stately ruggedness, and at the right 
_ are seen two pollard willows. On the left is the edge of the woods 
with tall slender trees, through whose masses glimpses of the sky 
_ penetrate, their roots concealed by tangled bushes growing on the 
_ sloping edge of the roadway. The delicacy, purity and bewitching 
_ grace of this picture, its unusual size and splendid condition, make it 
_ worthy of particular note. 

_Jean Baptiste Huet was a pupil of LeBas; his subjects are principally 
Tustie scenes with figures and animals. In 1790 he was attached to 
‘the Royal Tapestry factories at Gobelins and Beauvais, and his facile 
_ talent lent itself so well to this branch of art—his work equalling 
_ Ondry’s and Boucher’s, that he was appointed, in 1794, to the post of 
_ painter to the King. He was a good draughtsman, his drawings 
possessing great delicacy and sentiment. The British Museum and the 
Albertina own some interesting examples. His skill with the graver 
was also considerable. Many of his compositions were reproduced by 
_ the foremost exponents of his day in etching, aquatint and a la maniere 
_ de crayon. oe 91%; W. 15 
_ Pen and ink, sepia. 7 
= | [SEE ILLUSTRATION] 


THE BILLET-DOUX 

An exquisite drawing in miniature of a barefooted, sleeping maiden, 
her head resting on her arm, and reclining on a mossy bank beneath 
, the spreading branches of an oak, with three lambs lying beside her, 
/ while, in the distance, the gabled roof of a farmhouse is seen. An 
? ardent swain, timorously approaching from behind the trees, bends 
over her, dropping into her lap the written declaration of his affection. 
_ The whole forms a delightful sylvan scene, drawn with marvelous 
_ breadth and freedom, considering its diminutive size, and colored 
with harmonious simplicity. H. 13%; W. 2% 
Water color. 


388 PORTRAIT OF MONS THOMAS LE CLERE 
A drawing of peculiar interest, being a successful exemplar of a type 
of work unusual for this artist, whose familiar productions are of 
fa pastoral nature; showing a nearly half-length figure of a man 
engaged in drawing, with face in profile, seated at a table beside a 
_ window, looking out on a court yard. The lighting effects are remark- 
ably well distributed and the reflected glow in the face skillfully 
_ rendered. The portrait itself is surrounded by a time-worn stone 


83 


picturesque beauty of pastoral scene, which renders his productions 


Wh 


oval, decorated at the top with a chimerical head noe garland 


269 AT THE FOUNTAIN 


LS 


270 


271 


fruit, and below are various artist’s materials admirably distributec 
The treatment is delicate yet effective, the composition excellent, th 
action and pose correct and natural, signalizing the versatility of : 
master. E 
Alongside is placed the completed reproduction, printed in brow 
etched and finished au lavis, by Huet’s own hand. H. 10%; W 


Wash, india ink. [SEE ILLUSTRATION] 


A charming drawing of a bewitching maid, daintily attired and oral 
fully posed, filling a pitcher from the flowing water of an upright ston 
fountain, whose top is shrouded in foliage. At the right is seen 
rustic fence topped by the ragged thatching of a neighboring shelte 
Drawn with refined delicacy and clearness; exhibiting a deftness 
touch and sensitive feeling; the shapely form and the detailed el 
gance and simplicity of the tasteful costume being sani surpassed } 


the fine technique. H. 614; Ww. 
Wash, sepia. . . 
CHILDREN AT PLAY e 


A group of six children, one of whom is baleen on his anit vi 
feet in air, while a little girl seated nearby on a grassy mound beside 
sturdy tree, attended by two small boys lounging in easy attitudes, 
watching the performance with amused intentness. Two others, a bc 
and a girl embracing each other, stand near an oak in the foregroun 
looking on with interest. The background shows luxuriant masses 
verdure, with a ruined circular tower and a hilly landscape beyon 
The drawing is agreeably composed and rendered with careful adjus 
ment of values, it being probably one of Huet’s designs for decorati 
wall papers produced by the factory at Jouey. H.6%; W.7 
Wash, india ink. 

Charles Francois Hutin 

Paris 1715. Dresden 1776 


THE BLESSED SACRAMENT 


A fine composition, full of religious sentiment, displaying a mc 
strance on an altar surrounded by lighted candles within a domed. 
cove, and in front a balustrade, above which is seen an angel pointi 
towards the Sacred Emblem. Another kneels on a bank of clouds wi 
arms folded in adoration, and on the opposite side, on her knees besi 
a prostrate cross, is a third, above whom, holding in her hands a Cro: 
of Thorns, hovers one more; while dimly seen floating in the blaze 
light rising from the Holy Symbol are cherubs’ heads. The arran; 
ment of the figures and accompanying surroundings is good and {| 
illuminative effect well rendered, though the delicacy of execut 
frustrates its due emphasis. ia 
Hutin was a pupil of Le Maux and after gaining the Prix de Ro® 
remained in Italy studying the old masters. On his return to Fraié 
he was admitted to the Academy, but later settled in Dresden, be} 
appointed director of the Academy there, which post he held wi 
his death, dividing his talent between sculpture oe Re Ww, 
> 
Black chalk, heightened with white, on blue-grey paper. 


84 


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JEAN AUGUSTE DOMINIQUE INGRES 
[NUMBER 272] 


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| Jean Auguste Dominique Ingres 
iL one : Montauban 1780. Paris 1867 
272 STUDY OF A GIRL’S HEAD 
| A. life-like representation of a young girl, whose plainly dressed hair 
__ covering her pink ears emphasizes the perfect oval of the face. The 
forehead rises smooth over the arching eyebrows, beneath which the 
eee eyes gaze out solemnly; her clear, olive skin glows with color 
and her lips express gentle affection, and there is a tenderness and 
__ simplicity to the gracefully poised head. The brush effects are broad, 
___ yet a smoothness of application aids the characterization, the trans- 
parent shadow tones displaying true consonance. 
_ The head is a portrait study of a much-used model of Ingres, her face 
being often repeated in his larger works This and the six succeeding 
_ _wpumbers were purchased from Mrs. Greenough, the widow of Horatio 
Greenough, the sculptor, who acquired them during his stay in Italy. 
Ingres’ father was a painter, sculptor and musician and instilled in his 
‘son the first principles of drawing. The boy evinced such skill in this 
branch that he was sent to Toulouse, where he was placed under the 
‘successive tuition of Roques, de Vien, and Vigau. Later he went to 
_ Paris, entering the Atelier of David. He eventually managed to 
achieve the Prix de Rome, but he was unable to procure the payments 
__ attached to that scholarship for five years. Ingres soon developed an 
individual style, breaking away from the severe classicism of David, 
and devoted himself to an intensive study of Raphael. Eventually 
reaching Rome, he was forced to augment his income by making 
 _ portrait drawings at forty francs each; of these he executed over three 
hundred. In 1824 he left Rome for Florence, residing there for four 
_ years; returning to Paris he achieved a triumph in association with 
_ the romantic school supported by Delacroix and Gericault, over the 
_ classical adherents. One of the most marked characteristics of Ingres’ 
_ work is his absolute sincerity. A searcher after beauty, his ambition, 
was to equal the drawings of Raphael and, though he never reached 
__ that plane, yet obtained for himself fame asa draughtsman and painter. 
Ingres was honored by decorations from almost every Academy in 
__ Europe and the high estimation in which his work was held has not 
__ yet perished. H. 104%; W. 94% 


4 Oil on oiled paper. From the Horatio Greenough Collection. 


SN 


eeatieeD 


oA ew ge 
“Es oar 


_~ 7 
rats 
, + 2 


[SEE ILLUSTRATION] 


273 HEAD OF AN OLD MAN 


A splendid study of an old bearded man; his hair combed off his lofty 

_ forehead reaches his shoulder, in flowing locks, his full beard, deftly 
_— penciled, falling to his chest. 

fe The fine modelling, the marvelous transparency of the shadows and 

the detailed drawing of the features are exceptional; the dignity of the 

expression emphasized with unfailing accuracy, even to so minor a 

point as the mole under the right eye. H. 1144; W. 9 


Black chalk, heightened with white, on brown paper. 
85 


4, 


4VJ 
~~ 


4 


on 


274 HEAD OF AN OLD WOMAN 


275 STUDY OF A YOUNG GIRL | | 
east A delightful study of a young girl wearing a close-fitting cap, fro om 


eo 


276 STUDY OF A YOUNG GIRL’S HEAD 


277 STUDY OF A FEMININE ARM 


278 TWO STUDIES OF AN ARM AND A SLEEVE on one sheet. 
ie A finished drawing of a masculine arm and hand, lifelike in aspect, | 


ten cual of character; the delineation of an almost palpabl | 


eet 


U7 as the hand rests easily on a faintly indicated knee, the sleeve bein 


A superb drawing of an old woman’s head, seen in profile, we aring 2 3 | 
kerchief arranged over her hair and falling to her shoulders. A pera 


esh quality; the pendulous cheeks, the wrinkled brow, the pu 
lips, the sagging chin and the faded eyes, surrounded by a networem 
fine lines, are exquisite in their truthfulness to nature. The luminosit 
of the skin and the refinement of the handling in the ear alone are rare 
and when amplified by the simplicity and clarity of the few lines indi 
cating the folds of the drapery proclaim the hand of a master. — 


Black chalk, heightened with white, on drab paper. H. 115%; Ww. 
[SEE ILLUSTRATION] 


which her hair falls rippling on her neck. Posed in a charming, gracefu u 
attitude, the form delicately defined in faint lines and tenuous shag 
ings. The head, turned three-quarters, looking over the right shoulder 
is finished in a subtle manner, the fineness of the skin texture being 
shown, while the light, shade and color values of the hair are excellent, 
This figure and attitude are utilized in Ingres’ paintings. 

H. 1134; W.§ 
Black chalk, heightened with white, on light grey paper. 


An exquisite drawing of a young girl, sketched from the same model | 
as the preceding number, showing her in profile, looking downward | 
and facing towards the left, the close-fitting cap, outlining the skull, 
set further back on the head, her hair flowing gracefully over her neck, | 
the face charmingly expressive. Drawn with vital feeling and smooth- 
ness, indicating an engaging ease and fascinating Peony: Es A 

: 8% 
Black chalk, heightened with white, on buff paper. ne 


[SEE ILLUSTRATION] 


A dexterous and clever study of a girl’s arm executed with ¢ | 
delicacy and feeling for textual quality; drawn from a seated figure, 2, | 


lightly sketched in. The definition of the hand and the structural and | 
muscular suggestion is remarkably good; the treatment of the shadows, 
with their beautifully rendered reflected lights, and the natural con- | 
tour and general disposition are exceptional. H. 1154; W. 9 


Black chalk, heightened with white, on light grey paper. 4 
a 


displaying indicatively the interplay of muscles and ligaments under 
the skin. The wonderful poise, the grasping quality of the hand, the 


86 


_— vs : LATTE EO 7 Cline Le ite Ghee ttt etre | eo eo hr REP OTA) ee eee 


det ailed representation and constructive sense exhibited are remark- 
able. On the left is an effective study of a draped sleeve; the orderly 
and correct disposition of the folds is drawn with fine discernment 
of texture and smooth simplicity, the variations of the shadows mani- 
festing skill and knowledge. H. 9; W. 115% 
Black chalk, heightened with white, on drab paper. 


Louis Gabriel Eugene Isabey 


| 4 ‘ Paris 1803-1886 


9 FISHING BOATS OFF SHORE 


_ A capital drawing of a fishing boat with mainsail lowered rocking on 
_ the waves, with another nearby. In the distance, alongside the jetty, 
_, more are visible and behind them the tall spars and yards of a brig, 
/ _pointing skyward; beyond these rise the chalky cliffs fading gradually 
(6 into the distance, atop of them a square fortified building and others 
below at the water side. Accurately drawn, with fine atmospheric 
effect and 2. well-ordered sense of motion. } 
_ Isabey received his firSt instruction in art from his father, Jean 
_ Baptiste, the muriaturist, He early joined the ranks of the revolting 
_ young romantists under Delacroix and Bonington, painting principally 
genre scenes in Normandy, as well as landscapes and sea views of that 
_ coast. Towards the end of his life he produced a great number of 
_ water color and pencil drawings of considerable merit. H. 614; W. 934 


} , Lead pencil. Signed, lower right-hand corner, E. I. 


Charles Emile Jacque 
Paris 1813-1894 


Py 


0 FEEDING TIME 


_ A drawing of a stable-yard with two horses feeding from a trough, into 
___,which a man is pouring corn from a sieve; at the left a woman stands 
_—caring for some sheep in front of her, chickens, meanwhile, gathering 
" round her feet. In the background, rise the picturesque, irregular, 
_ tile-roofed farm buildings, flanked by sheds and lean-tos, while in 
_ the corner lies a heap of farm implements. The rural scene is depicted 
ina broad, vivacious manner, yet suggests in every detail simplicity 
and natural effect. 
___ Jacques started his career as an apprentice to an engraver. Later he 
went to England, being employed there in book illustration, making the 
drawings on wood himself. He returned to France, affiliating himself 
with that band of artists in the Forest of Fontainebleau known as the 
Barbizon School, and began to exhibit at the Salon. But his fame rests 
more definitely on his etchings, the technique of which inspired most 
Of the etchers of his day. His association with such realists as Miller 
and Rousseau strenghthened and developed his perception of natural 
cd form and effects, materially improving his later style. H. 534; W. 834 
Lead pencil. Signed, C. Jacque, on building on left-hand side. 


87 


281 


Maxime Lalanne 
Bordeaux 1827. Paris 1886 


A MOUNTAINOUS LANDSCAPE 


A comprehensive study of mountain scenery, foregrounded by mas- 
sive, uncouth boulders, between which flows a cascading torrent. I 
the middle ground is seen a house, on either side of which grow thick 
foliated trees and behind rises majestically a range of lofty peaks, th : r 
serrated edges standing out against the sky. The variety of motive 
the exactness of detail and the poetic feeling show great originally 
the drawing is clever and is enhanced by a dexterous touch. A g 
light floods the scene, defining the atmospheric values with a sere 
dignity which pervades the entire composition. 
Maxime Lelanne’s etchings are famous for the scientific clarity 0 
their method, which he explains in his “Treatise on Etching.” He 
was a pupil of Gigoux and an assiduous exhibitor at the Salon, taki 
many medals, besides being decorated with the en OH de’Honne 
H. 1634; W. 22% 


Black chalk on buff paper. Signed, lower left-hand corner, Lalanne. fj, 


Nicolas Lancret 
Paris 1690-1743 


TWO WOMEN GOSSIPING 


A facile and accurate sketch of two female figures seated on a rock . 
ledge, one in profile with arms folded, listening attentively to a state- q 
ment emphasized by the pointing hand of the other, who is seen from 
the rear, leaning towards her companion. Drawn with a swift and 
deft touch in an expressive and natural manner, displaying character- 
istic pose and intentness. =f 
Nicolas Laficret studied under Velin and Gillot, being a fellow-student 
of Watteau’s, whose ideas and ideals he followed. Blinded by the 
success of his friend, he identified himself so much with his style that 
it was almost impossible to distinguish between them; but he rarely 
exhibited those finer qualities that make Watteau’s work imperishable, 
He achieved considerable reputation in his time and was appointed 
painter to the King after his admission to the Academy. 


H. 6%;W. 5 4 
Black chalk. Watermark, a flying bird. : 


Sebastien Le Clerc 
Metz 1637. Paris 1714 


A RIVER SCENE 


A fine drawing of great luminous quality, showing a broad vista of 
comparatively level country, broken by a rugged hill clearly defined 
on the horizon, through which flows a placid river with scattered 
bushes on its banks; at the left a solitary tree with gnarled trunk and 
leafy branches stands near the road. By the waterside are three figures, | 
two others being visible on the winding highway. This example shows 
broad execution combined with delicacy of tone, moderate contrast 


88 


and great freedom of effect. The clarity of detail, soft brilliancy and 
varying values of the different planes are respected, while the whole 
is handled in a masterly manner. The transparency of the atmosphere 
blends harmoniously with the warm glow of the sky. 

Le Clere was a pupil of his father, Laurent, who was a goldsmith and 
by whom he was instructed in engraving. Later, on reaching Paris, 
Lebrun counselled him to take up painting. Colbert procured him an 


= al ig é sie 


: appointment at the Gobelins factory and on his election to the Acad- 
__emy he was appointed professor of Perspective. He renounced this 
___ position for that of engraver to the King and a professorship at the 
____ Gobelins school. H. 4%; W. 10% 
Wash, sepia. 

a 

4 Alphonse Legros 


ema d 


= , Dijon 1837. London 1911 
284 SKETCH FOR THE ETCHING “FEMMES DE BOULOGNE” 


Original sketch for a seated figure of a woman, introduced in the etch- 
a ing, by Legros, entitled “Femmes de Boulogne.’”’ Drawn with skill 
- and ease of manner, showing a female sitting with a basket beside her, 
_ the head bound in a kerchief, wearing a large cloak, the folds of which 
___are carefully detailed, the pose being extremely good and the face full 
_ of character; displaying this master’s qualities of expression and facile 
handling. 
Legros, a pupil of Le Coq de Boisbaudran, after struggling to make a 
living in Paris as a teacher, on Whistler’s advice went to London, 
where he obtained a position in charge of the engraving class at South 
Kensington. Later at Poynter’s solicitation he secured the post of 
professor of drawing at the Slade School. As a draughtsman and 
| etcher, Legros takes a high rank, his portraits and genre subjects 
-_ evineing a natural and instructive refinement of execution. 


H. 10; W. 7144 
Lead pencil. 


Eugene S. LeJenne 
Contemporary Artist 


285 THE SUNSET HOUR 


An interesting and well-executed drawing of a silent pool, whose 
sedgy banks are bordered with tangled bushes, reflecting the stately 
tree on its margin; the grassy slopes on either side, with their well- 
worn pathways, leading over the ridges to the heights on which stand 

E quaint old buildings. Far away, the distant tree-tops outline them- 
selves against the peaceful sky, illuminated by the rays of the setting 
sun gilding the low-lying banks of cloud, while over all falls the peace- 
ful stillness of the twilight. H. 9; W. 16% 
Charcoal. Signed, lower right-hand centre, E. S. Le Jeune. From the 
Loizelet Collection. 


89 


)- 


286 


287 


288 


289 


Louis and Antoine Le Nain 
Laon 1588-1593. Paris 1648 


STUDY FOR AN INTERIOR WITH FIGURES 


A preliminary sketch of six figures in varying attitudes inside a farm- | 
house kitchen. At the right, a woman on her knees tends the fire on © 
the hearth, over which hangs a pot within a semi-circular chimney; — 
near her a man sits huddled up, while in front is a group of females, the - 
foremost kneeling, addressed by another standing over her, the rest — 
looking on. Drawn with great facility and simplicity of execution. ~ 
The brothers, Le Nain, Louis and Antoine, worked in conjunction, ~ 
producing many scenes of peasant life, particualrly interiors, which 
were much esteemed for their fidelity to nature, clever treatment and ~ 
good coloring. H. 41%; W. 73% © 
Pen and ink, sepia. g 


SEATED FIGURE OF A PEASANT 


Sketch of an uncouth peasant lad sitting in an ungainly attitude on a 
slight rise near a wall on which a vine is growing; his clumsy feet 
crossed and his hand resting on his knee, in a natural position, while 
his clownish face peers out from beneath his shapeless hat. Remark- 
ably simple and direct in handling, exhibiting great veracity in the 
pose and bucolic expression. H. 414; W. 344 
Pen and ink, sepia. q 


- Jean Baptiste Le Prince 
Metz 1733. St. Denis du Port 1781 


A RUSSIAN PEASANT FAMILY 


An interesting study of a bearded Russian Moujik seated on the 
ground by the wayside, dressed in coarse habiliments, his toes pro- 
truding from well-worn boots and his hands clasped before him. 
Alongside sits his barefooted wife with an abject expression on her 
face, her arms around a child she holds on her knee; and beyond, near > 
a temporary shelter, is the figure of a young girl, her hand held to. 
her mouth. The whole forms a graphic picture of itinerant beggary 
and poverty, drawn with great fidelity; comprehensive and discern- 
ing. Probably one of the many sketches made by this artist during 
his peregrinations in Muscovy. _H. 654; W. 6 “a 
Black chalk and wash, india ink. 


A MUSCOVITE WOMAN 


A coarse Russian peasant woman, all bundled up, sitting hunched | 
over a pan containing charcoal embers, which she holds on her lap, 
endeavoring to warm her hands. Dexterously drawn with forceful 
simplicity; expressive pose and splendid effect of light and shade, 
displaying great vigor and individuality of manner. Evidently of the 
same origin.as the preceding item. H. 54%; W. 5%. 
Wash, india ink and reddish tint. | 


90 


{ Eustache Le Sueur 
% ’ Paris 1617-1665 


99 STUDY OF A DRAPED MALE FIGURE 


An impressive form of a bearded man standing looking over his shoul- 
der, the head shown full-face, with a staff in his right hand, and point- 
_ ing with the other, wearing a toga-like garment and sandals on his 
4 feet; at the left is a study of a hand grasping a rod. The figure and 
_ attitude are Raffaelesque in manner, Le Sueur having studied earnestly 
_ the compositions of that master. There is considerable breadth of 
_ treatment in this design, the draped effects being particularly well 
rendered. 
_ Le Sueur was a pupil of Vouet and was one of the twelve original 
_ members of the French Academy; his work during his lifetime was 
- eclipsed by that of Le Brun. This constant disappointment so preyed 
_ on him that he eventually joined the Carthusian order. Le Sueur’s 
‘f Beene exhibit gracefulness and freedom from affectation com- 
_ bined with originality of idea, though based on the best traditions of 
- the old masters. H. 144%; W. 834 
Sanguine. Signed, lower right-hand corner, Le Sueur. Watermark, 


 aunicorn within a circle, and above, the letter P. 


Emile Lévy 
Paris 1826-1890 


91 A JEWISH RABBI OF JERUSALEM 


_ An appreciative study of an old rabbi, nearly half-length, leaning 
_ forward with his hands crossed, the fine face and snowy beard being 
-_ drawn with consummate indication of character. Extremely simple 
in technique, the results are natural and correct though broad in effect. 
Lévy studied under Pujol and Picot, gaining the Prix de Rome; sub- 
sequently he was made a Knight of the Legion d’Honneur, besides 
gaining numerous medals for his work. H. 914; W. 63% 


Black and white chalk, on grey paper. 


th mh \, Aca 4 tats 
1 eee 
. 


ER Wai, LS 
Al 


Pierre Antoine de Machy 

-. Paris 1722-1807 

192 LIFE-SIZE HEAD OF A ROMAN WARRIOR 

__ A highly finished drawing of a male bearded head, wearing a plumed 

7, helmet, a toga around the shoulders; drawn with care and accuracy, 

'_ displaying all the classicism of the School of David. The handling 

and direction of stroke is academic, with marked brilliancy of treat- 
ment, the reflected lights and transparent shadows being also well 
rendered. 

Machy was a pupil of Servandoni and was an excellent painter of 
architectural perspectives. On the staircase of the Palais Royal are 
several views by him and other examples are at the Palace of Valen- 

- ciennes. Besides the reproduction of his work by such engravers as 
Basan, Janinet and Descartes, he produced several plates after his 
own designs. H. 21; W. 143% 
Sanguine. Signed in monogram, at lower right-hand corner, P.A.M., and 
dated Brumaire Au 10. Watermark, a bunch of grapes, surmounted 


by @ cross. 
91 


lA 
/@ 
- v 


tl 


293 


and beyond rise the undulating hills. Drawn with animated actior 


294 


295 PORTRAIT OF LOUIS XIV 


Jean Michel Moreau (Le Jeune) 
Paris 1741-1814 


THE MEETING OF ALEXANDER THE GREAT AND PHILE 
OF MACEDON 3 


A spirited scene, showing Alexander embracing his father, Philip 0, 
on his victorious return from conquering the Thebans. The two prin: 
cipals, the youthful hero and his bearded sire, occupy the centre; t¢ 
the right of them a mailed figure advancing proudly raises on high @ 
branch of laurel; at the left another, in a plumed helmet, stands beside 
a tree, halbert in hand, gazing at the reunion. Behind are massed the 
triumphant cohorts, bearing standards as trophies of their valor, 


aS a 
a 


and freedom of touch, with due deference to the various planes 0 ) 
the composition. 

Moreau le Jeune, as he is usually known, painter, designer and engraver, 
studied with J oseph La Lorrain, whom he accompanied to St 
Petersburg; but returning to Paris he abandoned painting, taking up 
engraving under the tutelage of Le Bas, whose studio he entered. e 
there perfected himself in design and practiced so delicate a style of 
engraving that he was soon appointed Dessinateur du Cabinet du Roi. 


Pen and ink and wash. India ink. H. 944; W. 6% 


THE REUNION OF DARIUS AND HIS FAMILY 


A beautifully drawn and finished representation of the voce of 
Darius and his liberated family. The Persian monarch is seen clasping — 
his wife in a loving embrace, his mother kneeling nearby with he 
arm encircling her granddaughter and behind them are standing 
several other figures with a camel’s head showing above. On the 
opposite side are a number of warriors, habited in mail, bearing” 
shields and spears, looking on with interest at the affecting scene. The 
whole executed with delicacy and fine detail; full of sentiment, dis- 
playing knowledge in the handling, and harmonious disposition of 
the component groups. H. 65%; W. 4% 


Wash, india ink, the faces lightly tinted in red. 


Robert Nauteuil 
Rheims 1628. Paris 1678 


A superb life-size and animated portrait of the King as a young man; i 

the full-bottomed peruke rising high from his forehead and curlin 
down on to his shoulders, the loosely flowing ends tied with a bow= 4 
knot. Around the throat is a close-fitting neck-cloth, the lacy ends 
falling to the breast-plate of the corselet, which is traversed by the e | 
broad blue ribbon of the Order of St. Louis. The features are vivacious S| 
the modelling of theaquiline nose and of the sensitive lips with their 

engaging half-formed smile is splendid; the fine eyes and well-marked | 
eye-brows, the shapely contours of the cheeks and chin, accentuate d 
by the regal bearing, constitute a striking likeness. The techni al 


92 


ROBERT NAUTEUIL 


[NUMBER 295] 


__ treatment is distinctive, displaying a mastery of medium combined 
__ with a clarity of perception. Nauteuil’s first tutor was his brother- 
_ in-law, Nicolas Regnesson, but in Paris he received further instruc- 
had tion from Abraham Boke and Phillipe de Champaigne. Acquiring 
Fe considerable reputation in his vocation as a producer of portraits 
in crayon, his talent in that art secured him the protection of Louis 
XIV, whose portrait he painted, being subsequently appointed designer 
and engraver to the royal cabinet. About this time he devoted him- 
___ self entirely to engraving, introducing superior style, which in clear- 
“hess and beauty of effect has never been surpassed. H. 2014; W. 17 \% 
Black and white chalks, on buff paper. Watermark: a fleur-de-lys 
within a decorative escutcheon, surmounted by a crown. 


[SEE ILLUSTRATION] 


Jean Marc Nattier 
= | eee Paris 1685-1776 

296 STUDY OF AN ARM 

A detailed study of a right arm and hand, vividly drawn with breadth 
___ and vigor, displaying a fine sense of anatomy. Full of action and true 
—y-_-to nature. ere 

/  Nattier received his first instruction in art from his father, and later 
__ attended the Academy. He distinguished himself as a portrait painter, 
_ _ in which capacity he was much employed. Subsequently he accom- 
____ panied M. Le Fort, the minister of Peter the Great, to Amsterdam, 
____ where the Czar then was, painting him and several members of the 
-_ Russian court. =| H. 74; W. 1134 
_ Sanguine, strengthened with black chalk on greyish buff paper. Signed, 
___ lower right-hand corner, Nattier. Watermark, a shield quartered by a 
e cross. 


Liga 


z Jean Baptiste Oudry 
x Paris 1686. Beauvais 1755 


297 A SWAN PURSUED BY A DOG 


A fine example of Oudry’s work, showing a wild swan with outstretched 

Wings and squawking beak thrashing the water in feverish anxiety 

14) _to escape an attacking dog, who, plunging into the pool, is seizing 
the frantic bird by the wing. In the foreground are moss-covered 
boulders and in the rear rises a massive overhanging rock crowned 
with luxuriant vegetation, two smaller rocks lying nearby; behind 
these are three slender trees lifting their intertwined branches to the 
sky. The drawing, composition and atmospheric effect are good, 
the trees well defined, the spirited action of the two combatants is 
natural and the balanced arrangement picturesque. 
Oudry was a pupil of his father and of Largilliere, who bestowed great 
care on his training. He painted the portrait of Peter the Great, on 
his visit to Paris in 1717, and was invited by the Czar to go to Russia, 
but, receiving a commission to paint some hunting scenes for the Duc 
D’Antin, decided to remain in France. Shortly after, he was presented 
to Louis XV, with whom he became a favorite. For Fagon, the 


93 


298 LANDSCAPE 


vi a 
v 


299 OBVERSE AND REVERSE OF A MEDAL 


Minister of Finance, he executed many decorative works and was 
appointed by him to the superintendency of the Beauvais Tapes ry 
Works, where, in conjunction with Boucher and Natoire, he produced 
a great number of pieces. H. 121%; W. 104% 


Wash, india ink. Signed, indistinctly on boulder an lower right-hand 
corner, J. B. Oudry. Watermark, a fleur-de-lys within an escutche 
surmounted by a crown. q 


[SEE ILLUSTRATION] 


Gabriel Pérelle 
Vernon-sur-Seine 1610. Paris 1675 


A drawing of a panorama with a rugged eminence in the foreground 
fringed with low bushes. Seated on the highest point is an artist 
sketching and another figure approaching him by a tortuous pathway 
In the middle distance are farm-houses with outbuildings and tre 
surrounded by walls near which the roadway winds. At the right, a 
river flows, on the further side of which is another enclosed group of 
buildings, and on the left is an abrupt rocky height, beyond which 
the landscape stretches illimitably. The execution is detailed with 
extreme delicacy. Bryan quotes this artist as being “Considered the 
Hollar of France.” 
Pérelle received his instruction in art from Daniel Rabel, whom he 
soon surpassed; he excelled in drawing landscapes, enriching them 
with ruins and other objects, which lend variety to his scenery. 

. TY; W. 934 
Pen and ink, sepia. 


Bernard Picart 
Paris 1673. Amsterdam 1733 


i 


A carefully detailed drawing of the two faces of a medal, struck in i 
commemoration of Catharine de Medici, wife of Henry II ‘of France; . 
whose portrait, coiffed and dressed in a ruffed high-necked bodice, is __ 
shown on the left surrounded by the inscription: CATHAR. HEN .II. 
UXOR. FRAN . II. CAROL. IX. ET. HEN. III. REG. GALL’. MATER. PIUS. 
The reverse, to the right, contains the likeness, in classic style, of her t 
three sons, Kings of France, and is inscribed: FRANCISC . II. CAROL. IX. _ 
REGES . GALL. HENRIC. III. GALL. ET. POL. REX. ‘This representation 
was doubtless made for reproduction by engraving, and is admirsDia 
executed. 

Bernard Picart was instructed in design and engraving by his father, | 
but obtained further help from Le Brun and Jouvenet; his work con- : | 
sists chiefly of plates for books and other ornamental engravings. In — 
1710 he left Paris, settling in Amsterdam, where he ae greatly em-— 
ployed by the booksellers in illustration. H. 24; W W.5 ae 


Sanguine, lettered in black chalk. 
94 


.a 
i 


ft 


q 


JEAN BAPTISTE OUDRY 


7 


NUMBER 29 


| 


es 


300 OBVERSE AND REVERSE OF A MEDAL 


_ An interesting and exact drawing of a medal issued in glorification of 
__ Pope Gregory XIII, whose well-drawn portrait is seen at the left, with 
____ around it the inscription: GREGORIUS . XIII. PONT. MAX. AN. I. and 
..¢-cbelow, the letters F. P. F. At the right, on the reverse, is a representa- 
__ tion of the Massacre of Saint Bartholomew, showing several of the 
___ victims prone, whilst two others, an aged man and a woman, flee before 
a soldier with uplifted sword; to the left of them stands a winged and 
haloed angel, holding aloft a cross in one hand and bearing a sword in 
the other. Around the upper portion is inscribed UGONOTORUM. 
_  STRAGES . 1572. This drawing evidently belongs to the same series 
___as the preceding one. H. 335; W. 53% 
_ Sanguzne, lettered in black chalk. 
301 A CHARIVARI 
Drawing of a group of three figures, one male and two female, in 
peasant garb, noisily beating various kitchen utensils, a custom for- 
é£¢merly prevalent among the lower orders in celebration of village wed- 
_ dings. Remarkably well drawn in outline with good characteristic 
action. A simplicity and directness of treatment is indicated in the 
different poses, as well as in the detailed handling of the costumes. 
This original has been utilized for reproduction by engraving, being 
_mmarked by a tracing stylus. H. 434; W. 334 
Pen and ink. — 


ee | en ae ee 3 ia 


5 


302 AN APOTHEOSIS OF DIANE DE POITIERS 
: An allegorical design for a heading, decoratively treated, displaying 
_ in the centre, beneath an ornamental canopy, a coroneted oval, left 
blank for a coat of arms. A female figure in classic costume with 
flowing drapery, seated on a cloud holding aloft a spear; kneeling 
3 before her, offering a wreath of laurel, is another female, and overhead 
2 _-a cupid flying, bow and arrow in hand, symmetrically balanced by a 
second cupid, holding a quiverful of arrows, while others are scattered 
at her feet. Disposed on either side of the central grouping are two 
partially draped nymphs, one caressing a hound, the other holding a 
couple of them in leash; below are seen two couchant lions, captives 
of conquering cupids. H. 5144; W. 7% 
Pen and ink, and wash, india ink. 


Sta acy, PRY A 


Jean Pillement 
Lyons 1728-1808 


303 FETE CHAMPETRE 


A well-arranged composition, delightfully grouped and cleverly 
f) executed, demonstrating a picturesque gathering of richly attired 
“persons of quality, enjoying a pastoral picnic. Some of the couples 
are seated in a circle, others strolling pleasantly about, while their 
attendant servants are busily engaged in preparing and serving the 
luxurious repast. The attitudes of the figures and the elegance of the 
varying postures are charming. Pillement first studied art in his native 
city and afterwards in Paris and Vienna, later spending some time 


95 


304 ALEXANDER ADORNING THE TOMB OF ACHILLES ~ 


305 


in London. His landscapes and fancy subjects, in ‘pencil and wate er 
color, were finished with great neatness. He became painter to Mar 
Antoinette and to the last King of Poland. Many of his designs hay 
been engraved by Canot, Ravenet, Woolett, Mason, es and d otha é 
eminent engravers. H. 55; W.7% 


Wash. Lnght brown. 


Nicolas Poussin 
Andelys 1594. Rome 1665 


An important and splendid specimen of Poussin’s composition, being 
the original draft for the painting in the Hermitage at St. Petersburg. 
In it Alexander, accompanied by attendants, is seen directing the plac- 
ing of various precious objects in front of a classic tomb surrounded 
by pillars, between which the foliage of trees is visible. At the right 
are two slaves, one prostrating himself and the second bearing a ve 
On the opposite side is a group of armed warriors, those in front nea 
ing in veneration, while beyond them are the distant hills. Drawn 
with swift and decisive touch, vibrant with expression and actu 
simply and broadly treated, harmonious in conception and evincing 
definite knowledge of perspective values. 

Nicolas Poussin received his first instruction in art from Varin, thig : 
being later supplemented by study under Jouvenet and Elle. His 
work displayed such promise that he was invited by Cavaliere 
Marino to accompany him to Rome, where, in 1674, he was introduced 
to Cardinal Barberini, through whose influence he procured several 
commissions. These established his reputation, which had now reached — 
France, and he was invited to Paris by Mons. Des Noyers, at the 
instance of the King, Louis XIII. On his arrival in France in 
1640 he was received with distinction and appointed Principal 
Painter to the King, by whom he was engaged to decorate the Caller 
of the Louvre. Eventually he returned to en -where he lived 
tranquilly and unostentatiously until his death. H. 7%; W. 10% 
Wash. India ink over black chalk outline. Signed, in lower left-ha d if 
corner, N. Poussin. From the Horace Walpole, Dr. Barry Delany and : 
C. Westendorp Collections. Collectors’ marks, B. D.—Fagan, No. 52, on | 
lower right-centre, and C. W.,—unknown to Fagan, an lower right-ha oe | 
corner. Mentioned in the Catalogue of the Strawberry Hull Sale, 10th day, 
p. 12, Lat No. 1266, Sold to Graves of Pall Mall. :: 


[SEE ILLUSTRATION] 


THE CONTINENCE OF SCIPIO 


A characteristic, original conception for the painting in the Galleria i 
Electorale at Dusseldorf, another sketch being in the Musée Condé at 
Chantilly. This has been engraved by Boydell, Dubosc, Landon, 
F. Legat and Mme. Sayer. The drawing shows Scipio Africanus on @ 
dais before a portico and behind him a classic figure of Victory, holding 
a laurel wreath above his head, while heinstructs an obsequious follower 
regarding the release of the beautiful captive princesses, who are seen 
standing grouped in the centre; the fortified walls of Carthage are 


96 


06 


seen in the background; at.the right are standing other armed attend- 
ants. This sketch displays clever disposition and dramatic quality, 
though light in execution. H. 634; W. 914 
Pen and ink, and wash, sepia. On the reverse is a second and improved 
draft of the group of women, more carefully detailed and interesting as 
exhibiting the progressive stages of composition. 


Subs STUDIES FOR “MOISE EXPOSE SUR LES EAUX,” on one 


/ Sketch of a seated male figure with the right arm around the neck of 


a sphinx, the left holding a cornucopia, representing the River Nile. 
This emblematical grouping is introduced in Poussin’s ‘Moses 
Deposited on the Waters,” in the Royal Gallery at Dresden, and the 
man’s form at the left is also utilized in the same painting. The atti- 
tudes are identical with the picture, but minor divergences are notice- 
able, particularly in the arrangement of the clothes. The drawing is 
blocked in with a bold and direct manner, sketched over a previous 


outline of two men and a horse. H. 654; W. 10 


Pen and ink, and wash, Sepia. Watermark, a bird with outstretched 


face 


08 


"al 


wings on a triple mount. 


STUDY OF TWO FEMALE FIGURES 


An interesting primary study of two women; the general disposition 
of the one on the right is seen in Poussin’s “‘La Sainte Famille” in the 
Louvre, the left hand being brought forward and the posture slightly 
altered; the arrangement of the folds is also changed and the head 


more erect. Another adaptation is discernible in the central figure in 


“Moise Sauve Des Eaux” in the same Galleries. H. 9; W. 55 (inlaid) 
Pen and ink and wash, sepia. From the Money and Martin Collec- 
tions. 


STUDY OF TWO FEMALE FIGURES 


This drawing is identical with the preceding one and is probably a 
secondary study from it, as more care is displayed in the indication of 
the draped folds. H. 734; W. 53% 
Pen and ink and wash, sepia. From the collection of Sir Benjamin 


West. 


TOBIAS AND THE ANGEL 


An extremely effective composition, rapidly sketched in, showing the 
Archangel Raphael, standing near a tree, commanding the wondering 
Tobias to secure the dolphin-like fish that has leaped from the stream 
while he was laving himself, in order to prepare from its entrails the 
miraculous ointment with which to restore his father’s sight. On the 
opposite bank, reclining near a tree, is the symbolic figure of a river god, 
emblematical of the Tigris, resting beside a sphinx, holding in his left 
hand a horn of plenty, the other supporting a staff. In the background 
is a pillared, circular temple with other buildings adjacent, and by the 
wooded rise, two figures walking on the strand. Vigorously washed in, 
evincing the artist’s vivid imagination. H. 1044; W. 125% 
Pen and ink, and wash, india ink, retouched with sepia. 


97 


310 UNIDENTIFIED SUBJECT 


312 PORTRAIT OF AN UNIDENTIFIED LADY 


A swiftly-drawn conception, showing an angelic eines fiouteee ov 
whose head shines a star, kneeling in an attitude of adoration befor or 
an image of St. John, bearing a cross in his right hand and the Hos 
in the other. At the extreme right stand two men, one of whom j i 
pointing, and behind all are seen splendid edifices, consisting of ¢ 
arch, a towering shaft, a circular temple, and the columned facade o 
another building. In ‘the foreground, over an archway, from whicl 
steps lead to the base of the statue, is a low wall decorated with ‘ 
sculptured reclining figure and above it on the coping is a sphinx 
The spirited and skillful execution are only surpassed by the we ll 
designed arrangement of the architectural a 

H. 734; W. 43 Y 


Pen and ink, sepia. On the reverse of the drawing, at the top, is ai 
anscription in Italian, and on the reverse of the original backing, h 
words, “Coll. de S. M. Gault (?) de St. Germain, No. 144,” possibly 
from the collection of Sa Majeste, Gallerie de St. Germain.” Watermarl : 

a crowned escutcheon containing the arms of the Medicv. 


TWO QUARRELING CHILDREN 


A clever drawing, full of action, of two nude children disputing, o1 ont 
standing threateningly over the prostrate form of his weeping oppo 
nent. An instinctive knowledge of anatomy is shown in the correct 
ness of the contours, accuracy of pose, and decision of motion, repre 
sented in a direct, simple and truthful manner. A typical adaptati of 
of this study is found in Pouissin’s ““Nymphe Jouant avec un Faun.” | 
. 7; W. 7 (upper corners rounded) | 
Black chalk and wash, india ink. On the base, in the hand of a previous | 
owner, are the words, “‘This is a sketch by a Good Master.” From th 
Money and Martin Collections. Watermark, the letters A. M. 


Pierre Paul Prud’hon 
Clugny 1758 Paris 1823 


A delightfully interesting and delicately-finished portrait of 2 
unknown lady, facing three-quarters, the head slightly turned toward | 
the left; attired in a short-waisted bodice cut low and square at the! 
neck; the hair dressed high and brought over the cheeks and ears 
The face is full of charm, the eyes large and expressive and the ne cl 
smilingly tender; posed with grace, carefully and cleverly draw 
exhibiting fine natural feeling. | 
Prud’hon’s first instructor was Devosges; later, aie traveling i a 
Italy, he formed an intimacy with Canova and remained several years 
in Rome; returning to France he rapidly acquired prominence in 
historical and poetical subjects as well as portraiture. The qualit} 
of his work justifies his assignment to a high rank among French 
artists. His compositions display a richness of fancy and elegance 
design, combined with a delicacy of coloring and fine drawing, hq 
have gained for him the title of the Bakes Corregio.’ 


H. 534; W. 436 (in oval) 


Black chalk, heightened with white chalk. | 
98 : 


18 PAOLA AND FRANCESCA 


gy 

_ Apreliminary sketch of a poetical conception of the two lovers immor- 
_—talized by Dante, ethereally floating, wrapt in a passionate embrace. 
_ Rapidly, but expressively, drawn with a spontaneous indication of 
vivid emotion. ra Wilk 
Black and white chalks on blue paper. 


oa Puget 
& Marseilles 1622-1694 
14 AN EMBLEMATICAL APOTHEOSIS 


_ A finely-conceived allegory, evidently drawn to commemorate a vic- 
tory over the Turks; exhibiting in the centre the figure of a warrior 
_Cclad in Roman costume, seated on a shell laden with military trophies, 
the head of a lion and a lamb on either side; this is supported by a 
twin-tailed merman alongside of whom a dolphin sports. The hero 
offers an Imperial Crown to Jupiter, who, grasping a staff and flaming 
thunderbolts, sits astride an eagle, wings outstretched, bearing in its 
beak an escutcheon and in its claws a scroll, the whole surrounded by 
' clouds. Behind these groups is the stem of an ancient vessel; on board 
the craft is a laurel-twined column, to the base of which a Mohametan 
is bound. Nearby, with outstretched hands, stands a partly-draped 
female proclaiming the glory of the victor. A cleverly-drawn and well- 
disposed arrangement, clearly and expressively outlined, with consid- 
erable decorative quality. 
Puget studied under Roman, a designer of ships, later working with 
Cortona, whose style he imitated; returning to Marseilles he prac- 
ticed painting and coming under the notice of Fouquet, was 
appointed designer at the shipyards of Toulon. He also made the 
_ plans for the Town Hall and Public Square at Marseilles, thus dis- 
_ playing his versatility as an architect, painter and sculptor. 

3 H. 104%; W. 8% 
Collector’s mark, right-hand lower corner, C. D. J., monogrammed, 
within an escutcheon, Fagan, No. 99 (unknown). 


PUVIS DE CHAVANNES 
Lyons 1824. Paris 1898 


5 A MIRACULOUS SUCCOUR 


_ A talented composition expressing sentiment and ideality in the atti- 
tudes and disposition of the figures. The distressed wanderers receiv- 
~ ing the unexpected aid brought by the dog under the celestial guidance 
of an angel, display simple reverence and sincere gratitude. The 
sublimity of the angel and the gratitude and veneration of the starving 
family for the divine response to their invocations is admirably 
indicated. The drawing is free, accurate and clear, and the arrange- 
ment well balanced. 
Puvis de Chavannes first studied under Henri Schaffer and after- 
wards worked in the studios of Delacroix and Couture; but lacking 
sympathy with their ideals, he withdrew from both the classic and 
' romantic traditions then in vogue, working out his themes alone and 
| giving himself up entirely to mural and decorative painting. After 


99 


XN 


| 


much adverse criticism. fe obtained reccerite one public 
after another being decorated by his frescoes. He worked in pal 
of fresh, cool color, the delicate tones and his subtle balance of 
and spaces making for repose. His subjects, though allegorical, 
never didactic; he worked with entire disregard of conventional fot 
mulae. Puvis de Chavannes may be said to have created moder 
decorative painting. H. 1214; W. 91 
Lead pencil. 4 

On the reverse are partly mutilated instructions by the artist. 


Paul Renouard 
Contemporary Artist 


316 MIMI’S MEAL 


A clever drawing of a girl, seen half-length, lookmg down expressive 
at a cat in her lap, poised on its hind legs and mewing for the s 4 
of meat her mistress holds in the left hand, the other holding a pe 
of scissors with which to cut the food. The technique is good and ¢ 
pose natural and animated, displaying keenness of perception cor 
bined with facility of execution. Renouard is, perhaps, best known 
an illustrator and lithographer. For many years his connection wi 
the highest class of illustrated periodicals has kept him prominent 
before the European public. Several publications have been issued 
his varied and interesting sketches. H. 13; W.@ 
Black chalk and wash, india ink and blue tint. Signed, lower righ 
hand corner, P. Renouard. : 


Hyacinthe Rigaud 
Perpignan 1659. Paris 1743 


, it THE REPOSE OF EGYPT 


_ An admirable composition of the Holy Family, showing Mary seated 
“beneath a tree holding a book, with Joseph beside her leaning ové 
and resting his hand on her shoulder, pointing, meanwhile, to the 
kneeling figure of the infant St. John, ‘to whom the Christ child } has 
just presented a cross; behind these appear the head and neck of | 
ass tended by a cherub. In the background, a stately edifice rises a 
beyond the distant trees is a lofty mount. The execution of the dre 
ing is spontaneous and free, the disposition of the figures lease ant 
effective, their pictorial quality being excellent. | 
Rigaud _ studied first under his father, subsequently establishing hit 
self at Lyons, where he was fairly successful. Later, going to Par 
he took up historical painting, but was induced by Le Brun to } 
his attention to portraiture, in which art his achievement was br 
liant. He frequently painted the portrait of Louis XIV, the prin 
pal nobility of the Court, and many of the illustrious personages 0 
Europe. Rigaud is considered one of the ablest portrait painters, 
the French school, and many of his productions were ose / 
the ablest engravers of his time. H. 944; W. D7 


Sanguine, washed, outlined in sepia. Signed, in lower left-centr 
base f, H. Rd. Squared for enlargement. a 


100 


J, 


th Sere ee 
Ne 


+ bs ‘ Laeue | _ is] 
oor i. _- a sg 4 


NICOLAS POUSSIN 


NUMBER 304] 


HUBERT ROBERT 


NUMBER 318] 


| 


Hubert Robert 


- Paris 1733-1808 

Bw OMAN RUINS 

_ An attractive drawing containing two partially-draped figures, one 

. pointing and the other holding a wand, surrounded by ruined build- 

ings. On the left is an ancient arch, near which two wayfarers and 

-the head and shoulders of another are visible. At the right is a time- 

_ worn ornate facade with statues in niches, and the top overgrown with 

7 aia while in the distance the pillared front of a temple is seen. The 
‘figures in this picture are drawn by Fragonard, who worked in col- 

_ laboration with Robert during their sojourn in Italy. 


_ Robert acquired the first principles of design from the sculptor 
Michael Angelo Slodtz, but his real training was obtained in Rome, 
_ studying the colonnades, porticos, temples, arches and other archeologi- 
eal remains of that city. In 1760, in company with Fragonard and St. 


_ Non he toured Sicily and the Kingdom of Naples, making copious 
' notes and sketches; on his return to Paris he achieved a considerable 
_ reputation and was appointed landscape artist to the gardens of the 


| King. He possessed an agreeable manner and touch, his tones are 
silvery and his arrangement and treatment free and picturesque. 
L a | : H. 6; W. 814 


_ Water color. From the Money and Martin Collections. 
aa [SEE ILLUSTRATION] 


319 VIEW OF A PICTURESQUE RUIN 

A drawing of an ancient ruin whose crumbling walls are topped with 
7 verdure, the stones hoary with age, the roofless crumbling pile raising 
-? -itself in picturesque beauty. In the foreground two figures are seen, 
resting at ease, and in the distance, behind other fragmentary ruins, 
the blue hills merge into the sky. The coloring is harmonious, the 
__ handling of the light and shade distinctive and the drawing free and 
_ bold, producing a pleasing effect. This is evidently an early example 
of this artist’s work, but it exhibits many of the brilliant qualities 
of his later productions. H. 93%; W. 714% 


Water color. 


, 


= Leon Sabatier 

| * Contemporary Artist 

320 SCENE IN THE ALPS 

_ An effective drawing of a mountain stream flowing through an Alpine 

/Z- valley, hemmed in by massive peaks. In the distance, dimly seen 

5 through the driving storm and illumined by the glowing light piercing 

through the drifting vapors, a tiny rill pours into a placid pool and 
eascades over a break in the boulders, while a solitary bird flies above 

the rolling clouds. The atmospheric effects are admirably rendered, 

the mystery of the majestic surroundings enhanced by the clear 

: definition of the rocky masses, heightened by the faint glimmer 
struggling through the falling shower. 


101 


a 


a 
(- 


322 


—< beside the river-god emblematical of the Styx, having just been ferried | 


Sabatier ranks high as an accomplished landscape artist and lithog- | 
rapher. Some of his most interesting productions | in that branch of | 
art are published in “La Bretagne Contemporaine.”’ Pt 

H. 10144; W. 164 | 


Black chalk, heightened with white, on brown-tinted paper. Signed, low 
left-hand corner, Leon Sabatier. From the Loizelet Collection. ; 


Carle André Vanloo 
Nice 1705. Paris 1765 


PORTRAIT OF AN UNIDENTIFIED LADY 


A clever drawing of a half-length female figure, her head slightly i| 
inclined, the face shown in three-quarters, wearing a rufiled cap. A’ 
kerchief falls in graceful folds about her shoulders, the ends of which 
she draws together over her bosom with one hand, holding an open | 
book in the other. Drawn with charm, ease and decisive freedom. | 
Carle Vanloo was instructed in the rudiments of design by his brother, | 
whom he accompanied to Rome, where he studied under Benedetto © 
Luti. On his return to France he was employed restoring Primaticcio’s | 
paintings at Fontainebleau. Visiting Italy again, he spent some years | 
in Turin in the service of the King of Sardinia. Eventually settling | 
in Paris, he was admitted to the Academy and became popular, the |, 
King conferring on him the Order of Saint Michael, and appointing | 
him Principal Painter. His style was correct and simple and though | 
eclipsed by the later French masters, compares well with that of his | 
contemporaries. H. 954; W 


Black chalk, heightened with white, on drab paper. 


: e 
eae, zi 


Hie Ae eat tae oa 


Francois Verdier 
Paris 1651-1780 


EURYDICE IN HADES | : 
A classical composition representing Orpheus’ wife in Hades, weeping i 


across by Charon, who is seen poling his boat off from the shore. In} 
the centre are seated Pluto and Proserpina, the latter pointing to the | 
grief-stricken Eurydice; and beyond, through a rugged opening in the | 
rocks, guarded by Cerberus, are visible the forms of Tantalus endeavor- | 
ing to assuage his thirst with the fruits dangling before him, Tityas| 
with a vulture preying on his vitals, and Sisyphus and the stone. The | 
grouping is effective, and the anatomical values and attitudes well 
rendered. Verdier was a favorite pupil of Le Brun, displaying such 

ability that he employed him on most of his important works. 
Subsequently he married Le Brun’s daughter. Later appointed 
professor at the Academy, he was engaged by the King in decorating 
the walls of the Trianon and the Palace at Versailles, in which work } 
he displayed great facility of design. H. 104%; W. 1534 | 
Black chalk, heightened with white, on buff paper. | 


102 


Claude Joseph Vernet 
- Avignon 1714. Paris 1789 

323 LE PONT MOLLE 

a charming drawing of this unique old stone bridge, a square fortified 
_-entrance at one end and an ornamental statue at the other, standing 
~© out against the adjacent foliage. The arches framing the vista of the 
_ distant shore, springing from their verdure-clad abutments, and the 
___ beauty of the structure are represented with delicacy of line and har- 
monious tinting. The fine sense of atmosphere and the effective ren- 
dering of the rising foreground, with its verdant growths and mirroring 
waters, constitute an extremely picturesque scene. 

Vernet first studied under his father and on going to Rome became 
a pupil of Mauglard, whom he soon surpassed. While in Italy, he 
painted many landscapes, seaports and other marine subjects, acquir- 


France, being engaged by that monarch to paint a series of pictures of 
the seaports of the country. His landscapes and views portray with 
fidelity the beauty of nature and are arranged with taste, correctly 
designed and touched with uncommon sgpirit. H. 83%; W. 11% 
Water color, outlined in pen and ink, sepia. 


Simon Vouet 
Paris 1582-1641 


324 ARCHITECTURE, an allegorical design for a ceiling. 


A fine composition, displaying good perspective. At the left is seen an 
edifice in course of construction, with the essential scaffolding, on 
which are masons setting a stone that is being lowered into its place 
from a towering crane. Below is a group discussing an architectural 
problem, one member demonstrating a question of angles to which his 
companion, holding a pair of compasses, is attentively listening; on 
the opposite side, another figure, ruler in hand, is joining in the debate, 
a woman looking on from beside him. Nearby, backgrounded by an 
arch, sits a partially-draped female form with a lute and below the 
platform on which the company is assembled are various artistic and 
musical accessories. The careful technical treatment and studied dis- 
position of the foreground conference is exceptionally good, and the 
architectural details are defined with unusual exactness and the rela- 
tion of the component parts of the design skillfully adjusted. 
Vouet’s first instructor was his father and he early acquired reputation 
as a portrait painter. He went to Rome, where he resided for fourteen 
years, being employed by Pope Urban VIII and his nephew the 
Cardinal, in St. Peter’s and in the Barberini Palace. Returning to 
France, he was appointed principal painter by Louis XIII, and deco- 
rated the palaces of the Louvre, the Luxembourg and St. Germain, 
also the Hotels Richelieu and Bouillon as well as some of the principal 
churches in Paris. Vouet was the first artist to emancipate the French 
school from its previous insipid and uncouth style, introducing a 
quality afterwards greatly improved by his disciples, Le Brun, Le 
Sueur, Mignard, and their successors. H. 154; W. 113% 
Wash, sepia, heightened with white, on buff-tinted paper. Signed, 
lower left-hand corner, S. Vouet. Watermark, a quatrefoil, between the 
letters A. M., within an oblong. 


103 


ing such reputation that he was invited by Louis XV to return to. 


i 
; 


Antoine Watteau 
Valenciennes 1684. Nogeni-sur-Marne 1721 


825 SKETCH OF A PEASANT CROSSING A FOOTBRIDGE 


A fascinatingly subtle study of a man, indicated in an adroitly 
accurate and brilliantly effective manner, with intense naturalness and 
vivid spontaneity, deftly delicate in its reticent simplicity, yet redund- 
antly complete, expressing in a few impetuous strokes the living im- 
pression of attitude and action, recorded with the swift surety of a 
es master hand, each ardent touch vibrantly responsive to the instan- 


taneous perception of a master mind. It requires no great effort of 
the imagination to visualize the purling brook babbling beneath the 
rustic bridge embowered in the lush green of the surrounding foliagdl 
Watteau’s first instructor was a mediocre artist named Gerin. Later 
he went to Paris to study, and after suffering many privations, which 
doubtless sowed the seeds of the malady to which he succumbed at a 
early age, he eventually made the acquaintance of Gillot, the oan 
an association which developed his latent imagination. Afterwards, 
by an intelligent contemplation of Rubens’ masterpieces he acquires 
the verve and brilliancy of tone and color which are the essential 
constituents of his genius, and he composed and innovated the most 
expressive art of the French spirit of the Eighteenth Century. As de 
Goncourt pithily expresses it, ‘‘Watteau has renovated Grace.” — 
6%; W.4% 
Black and white chalks on blue paper. On the reverse is an almost 
adentical sketch, the variation suggesting the addition of a coat. Water-— 
mark, a bird with extended wings on a triple mount. | 


326 STUDY OF AN ARTIST SKETCHING 


An unusually interesting drawing of an artist seated sketching; the | 
intentness of purpose shown in the attitude, the expressive action of 
the hand and the characteristic absorption indicated in the face are | 
masterly. The whole of Watteau is here: his grace, his vivacity and | 
his acuteness. S 
Speculation arises concerning this original; the profile of the portrait 
of Chardin drawn by Cochin and engraved by Laurent Cars corre- |i 
sponds in every feature with the head in this sketch, and it is un- 
doubtedly of great value as a hitherto unknown and unpublished — . 
likeness of one great artist drafted by another. - H. 7%; W. : 


Black chalk. 


% 
AK 


- 327 CHRIST BEFORE CAIAPHAS , 
Hi ~ A well-arranged composition showing Jesus at the left, his hands — 
7 bound, led by a Roman soldier who bears a torch, and surrounded by 
other armed men. On a canopied throne, set on a circular-fronted 
dais, sits Caiaphas wearing a mitre and beside him stand other figures; 
at the right, near a column, is a well-designed male form, his cloak 
draped over his arm, and another alongside. In the foreground are 
the head and shoulders of a spectator with a boy beside him and above, * 
on the steps, a dog is lying. The lighting is effective and materially © 
aids the cohesion of the different groups. 


104 


This drawing is evidently one of Watteau’s earlier productions, and 
while it evinces many of his peculiarities of style, instanced by the 
undue length of form and the shape and action of the legs, hands, and 
feet, it distinctly betrays the influence of Gillot. H. 934; W. 143% 


Pen and wash, sepia, heightened with white, on light brown paper. 


GREEK SCHOOL 


Constantinos Bolanachi 
Heraclium, Candia, 1837 


328 A NAVAL REVIEW 


A good sketch of a composite frigate, ensigns and flags fluttering in the 
— breeze, and her guns thundering a salute; behind, lifting above the smoke 
of the salvos, are seen the masts and yards of another vessel. On the 
shore are groups of spectators waving their hands and cheering, while 
several crowded boats are putting off from the beach. The drawing 
displays great knowledge of nautical detail and is rendered in an 
a manner with due sense of perspective and atmospheric 
values. 
Bolanachi was a painter of marine subjects and creditable examples of 
his work are to be found in the Museum at Gratz and in the Leeds 
Museum. | H. 5%; W. 734 
_ Lead pencil. On the reverse are several other sketches of various types of 
poh seg and swiftly drawn. Signed, lower right-hand corner, C. 
olanachi. 


1 


dD 
| 


RUSSIAN SCHOOL 


Fedor Ivanovitch Jordan 
Pavlosk 1800. Petrograd 1833 


$29 CHEYNE WALK AND CADOGAN PIER, CHELSEA 


A clever drawing of Chelsea Reach, showing on the right Cadogan pier 
7 and the old red brick houses of Cheyne Walk; on the opposite side of 
(. _ the river is Battersea with the shot-tower and factory chimneys spear- 
ing upward against the glowing sky. On the northern shore near the 
old landing place are seen boats drawn up on the strand, and in the 
distance beyond the bridge lies Fulham Palace. The treatment is 
clear, and the tones pure, the handling free and dexterous. 
Jordan received his first instruction in art in St. Petersburg under 
Outkin and then went to Paris, where he became a pupil of Richomme; 
subsequently going to England, he studied under Raimbach and finally 
went to Rome. On his return to his native country he was appointed 
curator of prints in the Hermitage, later becoming rector of the 
Imperial Academy. H. 6%; W. 93% 


Water color. 


3830 SIR RICHARD STEELE’S HOUSE at Hampstead Heath. 


i A brilliant and effective piece of coloring, showing the old house at the 
'} ~ left of the road leading to London, with coach rumbiing along 
| the rutted highway, milestone in the foreground indicating the 

distance from the city. Hazily seen above the nearby trees and house 


105 


et 


331 


332 STUDY FOR “THE FAIR PENITENT” | | 


333 


_ An interesting study of a woman’s head and bust, shown three-quar- | 


tops, the dome of Saint Paul’s rises with Westminster Abbey’ s square 
towers visible at the right. A picturesque view of the edge of the 
Heath, its rural characteristics since transformed into a mere sub 

ban appendage of the great metropolis. #7; W. 934 


Water color. 


SPANISH SCHOOL 


Nos. 331-334 


Alonzo Cano 
Grenada 1601. Madrid 1667 


THE ASSUMPTION OF THE VIRGIN 


A splendid composition, full of movement, of the Virgin being borne 
heavenward by cherubs. The rendering of the draperies and the 
grouping of the attendant cherubs with their rounded contours are 
particularly noticeable. The expressive attitude of the principe 
bee and the joyous freedom displayed by the bambinz are admirably 
rawn. 
Cano has been called the Spanish Michael Angelo, excelling as a | 
sculptor, painter and architect. He was the son of an eminent archi- 
tect and was brought up in that profession, but turned his attention | 
to sculpture. Later, visiting Seville, he became a pupil of Francisco” 
Pacheco, and afterwards studied under Juan del Castillo. As a young 
man he executed many works in Seville for which he refused remunera- 
tion, declaring that he exercised his talent to perfect himself in his art. | 
He and his friend and fellow-student, Velasquez, were summoned by — 
the King to Madrid, where he produced many admirable compositions | 
which are to be found in the various churches and museums of Spain, | 
and which establish his fame as one of the greatest painters of his © 
country. H. 7144; W. 954 | 
Pen and wash, sepia. Watermark, a bunch of grapes. 


Antonio Casanova 
Tortosa 1847. Ende 1896 


A striking example of individual technique, full of verve, expressive 
and natural, brilliant and energetic, delicate, yet free. 
Casanova studied in Barcelona under Claudio Lorezate. Later, . set-_ 
tling in Paris, he became a frequent exhibitor at the Salon, principally $ . 
of historical and genre subjects, forming his style ang coloring after” 
Fortuny. 10%; W.7% }. 
Pen and wash, india ink. Signed and dated, eae centre, A. 
Casanova, Paris, 1878. ; 


Carbo Mariano y Fortuny | 
Reus 1838. Rome 1874 & 


STUDY OF A WOMAN’S HEAD 


ters, wearing a wide linen cap decorated with a ribbon. The treat- 
ment is broad and effective, the features well rendered and lifelike, | 
touched in simply and naturally. 


106 


_ Fortuny studied at the Academy at Barcelona, obtaining a scholar- 
ship for Rome. His first commission was to follow the war in Morocco 
in an Official capacity, but this proving distasteful, he returned to 
Rome to continue his studies. Subsequently, on reaching Madrid he 
fell under the influence of Goya and devoted himself to the study of his 
technique, which is displayed in the finest of Fortuny’s work. 

After visiting England he returned to Italy, settling at Portici. 
He merits recognition on account of his incontestible salient and the 
influence he exercised and still exercises upon contemporary Spanish 
and Italian painting. H. 2234; W.17 
Charcoal on buff paper. Signed and dated, lower right-hand side, 
Fortuny, Roma, 60. 


Giuseppe Ribera (Lo Spagnoletto) 

“4 Xativa 1588. Naples 1656 

334 CHRIST DISPUTING IN THE TEMPLE 

x A remarkably fine drawing, with good chiaroscuro, treated in a broad 

and direct manner. The arrangement and attitudes of the figures are 

_ j-appropriate and the handling of the masses of light and shade gives 

-“ unusual breadth and atmosphere to the composition. 
Ribera’s first instructor was Francisco Ribalta. Subsequently, after 
many difficulties, he journeyed to Italy, placing himself under the 
tuition of Michael Angelo Caravaggio, whose powerful and effective 

- style attracted him. From Naples he went to Parma, studying the 
works of Corregio, and thence to Rome, to study the paintings of 
Raphael. It was about this time that the Viceroy of Naples extended 
to him his patronage and he was employed in several works which were 


aa eet Ah och Fa ei : ha daria el ‘ ‘ 
Din) eA a da i Una ae ems ena 
> . ; oh ai 


sent to the King of Spain. H. 8%; W. 14% 
Black chalk and wash, sepia. Watermark, a horn within a crowned 
escutcheon. 


TEUTONIC SCHOOL 


Nos. 835-355 
Johann George Bergmuller 
Dirckheim 1688. Augsburg 1765 


' 385 THE VISION OF THE SACRED HEART 


A cleverly-drawn figure of a saint in bishop’s robes, his hands crossed 
on his breast, kneeling before an altar on the steps of which lie a book 
—and a mitre, gazing in adoration at the vision of Mary, from whose 
bosom, radiant in glory, shines forth a flaming heart pierced by a 
sword. The sacred figure, with hands extended, floats on a cloud sur- 
rounded by cherubs, a drapery occupying the left side of the drawing. 
Bergmuller studied under Andreas Wolff and became director of the 
Academy at Munich; he painted historical and religious subjects, as 
well as portraits, affecting the style of Carlo Maratti. Most of his pro- 
ductions are in the churches and buildings at Augsburg, but he is 
chiefly known by the engravings he made from his own designs. 
. H. 834; W. 5% 
Pen and ink, sepia and wash, india ink. Signed, on the altar step, 
J.G. B. Squared for enlargement. 


107 


336 MEETING OF TWO SAINTS 


$a 


387 SOLOMON RECEIVING THE QUEEN OF SHEBA 


I)- 


388 CHRIST AND THE WOMAN TAKEN IN ADULTERY 


larly representative of Burgkmair’s work and was probably executed ~ 


. wrist the adulterous woman. Turning to the bystanders, one of whom ~ 


“Pen and ink. On reverse, in upper left-hand corner, 18 peated by a i 


Two figures in ecclesiastical raiment, one holding a bench the othed 
proffering refreshment handed by an acolyte. In the foreground i isa 
mason engaged in chiseling a stone, with two other figures beyond 
him; the whole backgrounded by edifices, the one at the right being 
in course of construction; above, angels and cherubs are seen flying 
amid the clouds. Well composed and freely drawn. H.11; W. 74% 


Wash, india ink. 
Hans Burgkmair 
Augsburg 1472-1531 


A fine example of this master’s work, showing Solomon, gorgeously 
arrayed, seated beneath a canopy on a draped dais, holding in his right 
hand a sceptre. In front of him, making obeisance, i is the Queen of 
Sheba, elaborately dressed, and surrounding the throne stand splen- 
didly-attired and picturesquely-turbaned officials and courtiers. The 
whole assembled within an ornate pillared and arched hall, the 
grouping of the figures being exceedingly good. This picture is particu- 


for reproduction in wood engraving. 7 
Burgkmair was the son of a painter, from whom, as well as Martin 
Schongauer, he received his art education. He was a friend and fellow- — | 
laborer with Albert Durer in the service of the Emporer Maximillian I. _ 
Although he practiced painting he excelled as a designer and engraver 
on wood. His fertile imagination and fine sense of dramatic value 
place him in the highest rank of the illustrative artists of the world. 
His productions were so numerous that he must be considered one of 
the most prolific as well as able members of the pata | school. 3 

H. 12 183 8» W. 844 i 
Pen and wash, india ink. Watermark, a cross within a square shield. — 

[SEE ILLUSTRATION] 


Lucas Cranach 
Kronach 1472. Weimar 1553 


A fine interpretation, splendidly composed, of Christ holding by the 5 


grasps her by the arm, the others in expostulatory attitudes, he remon- ~ 
strates with them for their uncharitable condemnation of the unfor- — 
tunate culprit. The expressions depicted on the faces of the actors in — 
this group are excellently rendered, the drawing being both truthful — 
and direct. DT 
Cranach learnt the rudiments of his art from his father, afterwards _ 
specializing in portraiture and religious deco ative paintings, altar- 
pieces, etc. His coloring is good in portraits; he is distinguished by — 
his fidelity to nature combined with a distinctive grace and rey : 


W. 814 


former owner “‘I think this Cranach, A. J.”’ Collector’s mark, on reverse, — 
aa left-hand corner, Fagan, No. 443. From the collection of Carl Pi ? 
odin. 


108 


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[NUMBER 33 


Leonhard Gaultier 
Mayence 1552. Paris 1641 


389 A GROUP OF PORTRAITS 

I A sheet of portraits of notable rulers and patriots of England, France, 
a Denmark, Switzerland, Portugal, The Holy Roman Empire, Bourbon, 
i Burgundy and Rome; some evidently taken from contemporary 
if likenesses. On the reverse are representations of the wives of the 
_¢- Roman rulers. 

Gaultier was an engraver of considerable reputation in his time, work- 
ing in the manner of Wierix and Crispin de Passe, and was very 
prolific, most of his plates being made from his own designs. 

These drawings were made by Gaultier for reproductive engraving for 
the “Chronologie Colle.” ; H. 5%; W.7% 
Pen and ink, sepia. Watermark, an eagle displayed, bearing on its 
breast an orb surmounted by a cross. 


Joseph Anton Hormann ~ 
Gunzburg 1775. Augsburg 1820 


3 Ny a NOY 


~~ 


340 A RIVER ROAD 
A pleasing drawing of a highway curving along a river bank 
a bordered with low shrubbery and growths. On a rise, at the right, 


i 


- / 4g a luxuriantly foliated tree and on the left, seen far off, the buildings 
of a town, with a rounded hill beyond a grove of poplars; in the 
centre, two wayfarers, one pointing tothe distant view. 
Hormann was well known as a landscape artist, producing principally 
local scenes and genre subjects, as well as many caricatures. He also 
practiced as an engraver, working usually from his own designs. 

H. 5; W.6% 


Wash, india ink. Signed, in lower left-hand corner, Hormann inve. 


Christopher Jamnitzer 
Z Nurenberg 1560-1618 


| 341 SKETCH OF A HELMETED FIGURE 


An interesting sketch, drawn with deftness and dexterity, representing 

a figure clad in Roman costume, wearing a plumed helmet and a 

draped cloak, a sword hanging at the left side and the hand on the 

4 breast. The technique is rapid and simple, yet expressive. Jamnitzer 

was a goldsmith, but also practiced etching, mostly of children and 
grotesque subjects, in which work he was rather successful. 

H. 9%; W.5% 


Pen and ink, sepia. From the Money and Martin Collections. 


Anton Rafael Mengs 

Aussig 1728. Rome 1779 

| 342 JUDITH AND HOLOFERNES 

t A spirited and simple rendering of the decapitation of Holofernes, 
- showing Judith partly draped, holding aloft in her left hand the bearded 


head of her victim, the right hand supporting the sword by her side. 
In the background, lying with arm extended on a canopied couch, is 


109 


/ 


343 


od 


345 


ft 


— <. + 
a 


seen the headless trunk. Cleverly drawn, with sureness and decisior n 
peer in every line, the arrangement and composition being excel 
ent 
Mengs’ father was his first instructor and with him he journeyed to 
Rome to complete his studies, and was soon employed in decorating 
some of the principal palaces and churches, including the Vatican, 
Later, at the invitation of Charles III of Spain, he went to Madrid, ; 
painting the ceilings and other frescoes in the Royal Palace. | 
His work was studied and profound, distinguished by ea ae and 
by tranquil and inanimate beauty. H. 534; W.5% 
oe and wash, india ink. Watermark, the arms of the City of Amster- 
am. | 
Johann Heinrich Meyer q 
Stafa 1760. Jena 1832 


A WAYSIDE CHAPEL BY MOONLIGHT 


A charming drawing of a peaceful moonlit valley, through which 
flows, at the left, a stream with rocky, verdure-clad heights, at the 
base of which, beside a pathway, stands a hexagonal chapel decorated 
with statues in niches; on the right is a wide-spreading tree whose 
intertwined branches are covered with foliage. The drawing is neatly 
and carefully executed, showing good, natural definition and atmos- 
pheric quality. ; 
Meyer, painter and draughtsman, was an intimate friend of Goethe, 
and after studying in Italy under Fussli was appointed professor of — 
drawing at the Academy at Weimar, but was better known as a writer © 
on art than as a painter. He decorated the Ducal Palace at Weimar, | 
but his work is principally in water color. H. 744; W. 83% 


Wash, sepia. Signed and dated, on a rock at the left, J. H. Meyer, 1787. | 


Karl Wilhelm Freidrich Oesterley 
Gottingen 1805-1891 

FISHING BOATS ON THE BEACH 
A pleasing and natural study of three fishing boats drawn up on the 
strand beside a low stone wall, with sails unbent, and in the foreground 
a barelegged old fisherman busy at a rope. Vigorously and cleverly 
rendered, with fine natural effect. 
Oesterley studied under Matthae in Dresden and later with Schadon. 
After a sojourn in Italy he settled in Hanover, becoming court painter. 
He specialized in historical painting and poate being also an 
accomplished etcher and lithographer. H. 534; W. 8% 
Lead pencil, heightened with white and color, on buff paper. 


Philip Peter Roos (Rosa de Tivoli) 
Frankfort 1657. Rome 1705 
STUDY OF SHEEP AND A GOAT 


A capital study of three sheep and a goat lying down and a ram | 
standing, drawn with verity and natural effect; the simple and clear — 
definition of the different textures and the expressive animal qualities | 


110 


aa 


aor 6 5) YE ROMINA le ites ) 


_ 


are remarkably good, the composition and grouping also most satis- 
factory. Roos, commonly known as Rosa de Tivoli, was a pupil of 
his father, Johann Heinrich; exhibiting great precocity, under the 
peace of the Landgrave of Hesse, he was sent to Italy to pursue 

is studies. Finally, establishing himself at Tivoli, he gathered around 
him a menagerie, in order to perfect himself in animal painting, in 
which branch of art he attained great facility. His groups are com- 
_ posed with good judgment and taste, his cattle drawn with unusual 
truth and spirit, each true to type. H. 54; W. 9% 


Sanguine. Watermark, a serpent twined on a rod, at the base, the letters 
H.C. From the Lane Collection. 


346 GROUP OF CATTLE AND SHEEP 


4 An interesting grouping of a bull and two cows standing, with a ealf 
| 3 “and two sheep lying near. Expressively drawn, with simplicity and 
_ clever interpretation of natural attributes and postures; the individual 
| traits being well marked, the treatment rapid, but sure. 

ie 5 H. 4%; W.9% 
—. Wash, sepia. | 

. Johann Rottenhammer 

Munich 1564. Augsburg 1623 


347 ST. BARNABAS PREACHING AT LYSTRA 


A splendid drawing exhibiting the influence of Tintoretto; adequately 
| omposed, indicating an effective disposition of planes; full of ani- 
| (ination and expressive action. St. Barnabas with St. Paul beside him 
stands in a public place, expostulating against the Pagan rites of 
sacrifice about to be consummated; while, pouring from out of the sur- 
__ rounding edifices, a curious throng is assembling to hearken to his 
preaching, the whole drawn vivaciously, displaying simplicity of 
| execution and vigor of conception. 
Rottenhammer’s first instructor was Donnauer, but at an early age he 
journeyed to Rome, where he distinguished himself painting historical 
subjects. Desiring to improve his coloring he went to Venice, where he 
devoted himself to a study of Tintoretto’s masterpieces. Under the 
patronage of the Duke of Mantua he executed some important works. 
Later, on arriving at Augsburg he entered the service of the Emperor, 
Rudolphus II, for whom he painted several pictures. His coloring was 
good and his figures gracefully designed, the backgrounds being fre- 
quently completed in conjunction with John Bruegel and Paul Bril. 
. H. 94%; W.17 
Pen and wash, sepia, on grey tinted paper. Watermark, a bugle within 
an escutcheon: 


Georg Philipp Rugendas 
Augsburg 1666-1742 


848 A RENDEZVOUS OF BANDITS 


|| _A brilliantly-drawn group of four horsemen gathered together on a 
rs slab-strewn plateau, surrounded by ruins. Immediately behind the 
| group is a rocky, verdure-clad eminence, from which a stream of 
water dashes against the boulders fronting a tunnel-like opening of 


111 


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349 


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/ a“ 


». 


350 HALF-LENGTH FIGURE OF JESUS 


a 


-_ 


portrait was engraved by Schmidt in the tc: charactegl ; 


masonry; above this rises a dilapidated arch; while beyond is seen 
the square tower of a many-windowed building. The drawing of th : 
horses shows knowledge of anatomy and action; their riders, convers- 
ing in expressive attitudes, are well posed, alert and vivacious. The en- 
tire composition displays appropriate vigor and a fine sense of atmos- 
phere. Rugendas’ first instructor was Jacob Fischer, but his taste fo or 
martial scenes led him to study battle-pieces by Borgognone anc 
Tempesta. He had acquired a reputation for that type of productior 
when he visited Italy and in Venice was assisted in his development by 
Molinari. From there he went to Rome, where he contemplated staying, 
but his father’s death forced him to return to Augsburg. On the out- 
breaking of the War of Succession, he occupied himself in making 
drawings and sketches of battle scenes. He combined a fertile imagi- 
nation with a good sense of color, and showed judgment in his con: 


ceptions, which are always imbued with natural qualities. 7 
H. 10; W. 6} 


Pen and wash, sepia. Watermark, a bugle surmounted by a spear ana 
banneret. 


Georg Freidrich Schmidt 
Berlin 1712-1775 


PORTRAIT OF THE ARTIST 


A well-drawn portrait, showing the artist, crayon in hand, sketching | 
himself; executed with delicacy and fidelity to detail. Clad i in an old 
hat and loose coat, he is seen seated at a table with sheets of paper ona | 
desk in front of him, flanked by a bottle and glass. On the wall behind 
hangs a violin and a sword; at his left is a window looking out on | 
ieee thatched buildings, the whole depicted with a high degree of | 

nis | 
Schmidt, an accomplished draughtsman and engraver, first studied at 
the Berlin Academy under Busch. On going to Paris he became a | 
pupil of Larmessin, perfected himself in his art and was admitted to” 
the Academy. Returning to Berlin he was appointed engraver to the _ 
King, subsequently being invited to St. Petersburg by the Empress | 
Elizabeth, where he engraved several portraits with great success. | 
His later manner showed the influence of Rembrandt, for he combined | 
etching and engraving and produced remarkably good effects. This f 


Biberach 1609. Augsburg 1680 


affected by him. H. 8%; W.6% 
Wash, sepia. ' 
Johann Heinrich Schoenfeld ¢ 
| 


A striking and effective drawing of Christ standing, half-length, with 
the left arm and hand elevated in the act of blessing, the right hand 


112 


_ gathering the folds of his garment. The attitude and expression are 
_ particularly good, lending a sympathetic feeling to the composition. 
In the upper left-hand corner is inscribed “Jesus.’’ 
- Schoenfeld, a pupil of Sichelbein, after visiting the principal cities of 
Germany, went to Rome, where he decorated several churches and 
_ palaces. Returning to Germany he distinguished himself as a histori- 
eal painter, working in many cities of the Empire; he also painted 
portraits and landscapes which were much admired. His compositions 
evince a fertile imagination and his coloring is vigorous. 
eet Sate WD IG 
Pen and wash, sepia. Signed, at lower right-hand side, invent Schoenfeld. 


Johann David Schubert 
Dresden 1761-1822 


DRAWING FOR AN ILLUSTRATION 


| 351 
i A charming little drawing, delicate and fine, showing an old man in 
her a maid. The scene is laid in a boudoir with a canopied bed in a 
recess. The technique is good, the details carefully drawn and the 
composition admirable. 

Schubert studied at the Dresden Academy under Hutin and Klass, 
became a painter in the factory at Meissen and subsequently profes- 
sor of painting and director of the Academy at Dresden. He also pro- 
duced a number of clever illustrations for books, engraving some after 
his own designs. H.4\%; W. 2% 


Wash, india tink. 


Karl Screta 
Prague 1604-1674 


352 MARTYRDOM OF A FEMALE SAINT 


An interesting drawing of a kneeling female saint, above whom 
stands an executioner with uplifted sword; beside her a figure exhort- 
ing her to worship an idol he holds, another man leaning over him; 
+ ~~a fourth is seen in the background. 

| Sereta early went to Italy to study and acquired a high reputation 
there, being admitted as professor at the Academy of Bologna. Re- 
turning to Prague, he became a member of the Academy in that city, 
and finally principal of the institution. H. 8144; W.6 
Sanguine. Signed on reverse: Screta. Watermark, a double-headed 
eagle, surmounted by a crown. 


1138 


“ conversation with a pretty girl seated at.a dressing table and beside. 


—_——  - 


358 


300 


Simon Peter Tillemans (Schenk) 
Bremen 1602. Vienna 1670 


PORTRAIT OF PETER THE GREAT 


A beautifully drawn portrait of Peter the Great in armor, a sash ¢ 
his breast, the head full of character and expressive anima 
Executed with careful delineation of detail, displaying every in 
tion of being taken from life during the Czar’s sojourn in Holla 
a hitherto unknown fact. 

Tillemans, also known as Schenk, passed his early life in Italy, wh 
he was esteemed as a landscape painter. He lived afterwards 
Utrecht, but subsequently went to Amsterdam, where he speciali 
in portraiture. Later, he was invited to Vienna by the Emperor 
Ferdinand, whose portrait he painted, as well as those of several 
distinguished members of the court. 3 H. 8%; W. 4 q 
Black chaik, on vellum. Signed and dated, at lower right-hand side le, 
Schenk, Fac. 1656. 


Johann Philipp Veith 
Dresden 1769-1835 


A FARMHOUSE IN A VALLEY 


A pleasing drawing of a quaint old farmhouse, nestling in a peacatil 
valley whose sloping sides rise on either hand. "The high-pitched roofs 
of the picturesque buildings embowered in trees lend a charm to the 
scene, the details of which are broadly but expressively laid in with 
good atmospheric effect. 
Veith was first instructed at the Dresden Academy; later he bees 2 ee 
a pupil of Zing, under whom he studied engraving. After traveling 
in Italy he devoted himself to the study of landscape. He settled i in 
Dresden, becoming professor at the Academy in that city. . = 
H. 644; W. 77 7. - 
Wash, sepia. Signed and dated, lower right-hand corner, Veith, d.m. | 
Nat. 1795. 7 


ras Le PSE SES A = 


Franz Edmund Weirotter 
Innsbruck 1730. Vienna 1771 


A RUINED WATER-GATE 


An interesting sketch of a picturesque ancient fortified water-aa ; 1 
through the arch of which is seen the masts and sails of fishing boats” 
and groups of men on the shore. A flight of steps leads up to the” | 
entrance of the square tower and the crenelated battlements sur-~ | 
mounting the opening; from the crumbling stones droops verdant | 
growths masking the ruins. The drawing is swiftly executed, witha” _ 
broad grasp of detail, enhanced by the clever handling of the light | 
and shade. Weirotter first studied art in Innsbruck; afterwards going | 
to Paris he became a pupil of Wille, and specialized in landscape. 
Sojourning in Italy, where he remained some time, he eventually 
returned to Paris, publishing several series of etchings from the | 
sketches he had made abroad. Subsequently, he was invited to the | 
Court of Vienna, where he was appointed professor at the Academy — | 
of Design. H.6; W.6% 
Pen and ink, india ink. 3 


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